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CORNELL UNIVERSITY LIBRARY 
 
 3 1924 073 796 199 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924073796199 
 
In compliance with current copyright 
 law, Ridley's Book Bindery, Inc. 
 produced this replacement volume 
 
 on paper that meets the ANSI Standard 
 Z39. 48-1984 to replace the 
 irreparably deteriorated original. 
 
 1992 
 
THE 
 
 Shakespeare Key 
 
 UNLOCKING THE TREASURES OF HIS STYLE, 
 
 ELUCIDATING THE PECULIARITIES OF HIS CONSTRUCTION. 
 
 AND DISPLAYING THE BEAUTIES OF HIS EXPRESSION; 
 
 FORMING A COMPANION TO 
 
 "THE COMPLETE CONCORDANCE TO SHAKESPEARE." 
 
 BY 
 
 Charles and Mary CoAYden Clarke, 
 
 AUTHORS OF 
 
 " THE COMPLETE CONXORDANCE TO SHAKESPEARE," 
 
 "SHAKESPEARE CHARACTERS," 
 
 "THE GIRLHOOD OF SHAKESPEARE's HEROINES,'" 
 
 &C., . &C., &C., &C. 
 
 I will fitly bring you to hear ray lord speak. 
 Pray you, go: there s my key. — Shakespeare. 
 
 Who understandeth thee not, loves thee not. — Shakespeare . 
 
 LONDON: 
 
 SAMPSON LOW, MARSTON, SEARLE & RIVINGTON. 
 
 i88, FLEET STREET. 
 
 MDCCCLXXIX. 
 
PRIKTED BY 
 
 NOVELLO, EWER AND CO., 
 
 69 & 70, DEAN STREET, SOHO, LOXDON, 
 
TO 
 
 THE TRUE SHAKESPEARIAN 
 
 ALL OVER THE WORLD, 
 
 Ci)ts ISoofe is Srttcatet, 
 
 IN TOKEN OF CORDIAL FRATERNITY 
 
 BY 
 
 CHARLES AND MARY COWDEN CLARKE. 
 
PREFACE. 
 
 Shakespeare's style, so masterly in power of effect, so vigorous 
 in expression, so full of varied resource, so marked with bold 
 originality, yet so accordant with pure English diction, offers 
 supreme advantage in its careful study to the thinkers, the 
 writers, and the orators in his native language. A man possessed 
 of good intellect and education, who moulds his composition and 
 speech on the model afforded by Shakespeare's works, can hardlv 
 fail of being an able writer and speaker ; and even a moderatelv 
 gifted and moderately educated man, who is in the habit of 
 reading and thoughtfully appreciating Shakespeare, is likely to 
 become capable of expressing himself with strength and clearness 
 — the best eloquence — whether in writing or speaking. 
 
 Never was author who combined so many different words in his 
 single writings — and not only so many different words, but so 
 many varied forms and uses of words — as Shakespeare; never was 
 author who comprised so many different phrases and sentences, 
 with varied constructional forms of phrases and sentences, as 
 Shakespeare ; therefore it is that the possession of a ready means 
 for inspecting these must needs be an advantage to students of the 
 English language. More particularly must it be valuable to 
 dramatic writers; whose object it is to produce prompt and imme- 
 diate impression upon those who hear sentences uttered, without 
 the opportunity to re-scan and weigh which reading affords. Of 
 the same value is it to public speakers ; since they also have to 
 choose such expressions as will at once convey their meaning in 
 the most full and forcible manner : and where can such expressions 
 be found in larger number and more pregnant with significance 
 than in Shakespeare's writings ? 
 
PREFACE. 
 
 To afford ready access to every peculiar feature of this rich 
 Shakespeare style, so that at a moment any particular mode of 
 expression used by him may be referred to and found, is the 
 object of the present work. It grew out of the necessity which its 
 authors felt, while they were engaged in preparing their various 
 editions of Shakespeare, for some accurate and facile means of 
 recurring to his manifold beauties and peculiarities of diction : 
 it assumed form first in the shape of innumerable jotted-down 
 memoranda from daily examination for more than thirty years of 
 Shakespeare's text ; it accumulated from minute observation of his 
 varied niceties of' phraseology, and gained bulk from the perpetual 
 need of carefully noting these in all their different details. That 
 which was so useful to our own joint task of editorship would 
 naturally prove useful to general students of the great Poet, who 
 might, so to say, become their own editors, if furnished with such a 
 clue as we possessed to his component essentials of style. It will 
 be of immense value to authors — especially dramatic authors — as 
 showing the particular means whereby Shakespeare produces some 
 of his best, most artistic, most characteristic, and most individual 
 effects. It will be of essential aid as a philological work to those 
 who carefully study the English language : showing Shakespeare's 
 multiform use of the same word ; his nice shades of meaning, and 
 gradations of distinctive impression, in selection of words ; his 
 coined words ; his classical use of words, in their primitive and 
 strict signification; his invention in the formation of terms suited 
 to his purpose and to the exact expression of his ideas ; his choice 
 of epithets, appropriate, accurately descriptive, forcible, polished, 
 comprehensively elliptical, consonant in pictorial or tonal effect — 
 containing absolute colour and shape in some, melody and music 
 in others : showing too his sentential construction — his robust 
 and energetic conciseness, where brevity is needed; or his opulence 
 of amplitude, where enlargement is requisite. 
 
 The work is so sorted and arranged as to give under different 
 headings the divers specialities of Shakespeare's style, and to 
 assemble thereunder the several passages presenting evidence of 
 each speciality; the whole placed alphabetically: therefore this 
 
PREFACE. 
 
 book will afford the same clue to the infinite variety of features in 
 Shakespeare's style that the " Concordance " affords to his every 
 word and sentence ; and thus the two books will, in fact, form 
 companion volumes, the one to the other. 
 
 A peculiar advantage possessed by the present work is that it 
 places collectively before the eye comparative evidence heretofore 
 scattered in notes, glossaries, and other forms of animadversion on 
 Shakespeare's style ; so that it may be seen at one view how he 
 uses the same word or form of expression, and thus frequently he 
 becomes an interpreter to himself. Consequently, " The Shake- 
 speare Key " will aid in determining various disputed readings and 
 readings suspected of error, by showing assembled together several 
 similar passages to the one in question; thus affording proof of its 
 being in accordance with Shakespeare's peculiar style. Notes 
 have been placed in several pages of this work, drawing attention 
 to points of the kind here meant. 
 
 A special feature of the book will be found under the heading. 
 Dramatic Time, which discusses and denotes -the system 
 (invented by himself) upon which our greatest Dramatist moulded 
 his style in this particular. 
 
 On this occasion it may perhaps be permitted us to congratulate 
 our readers (who have proved to be more like friends in their 
 constant and kind partiality towards us) as well as ourselves upon 
 the prolonged and intimate knowledge we have maintained through- 
 out the course of our lives with our greatest National Poet : as 
 compiler of the "Concordance" — a task of sixteen years — as 
 essayist and lecturer for a good half-century, as glossarist and 
 editor of several editions for America and England ; " The Shake- 
 speare Key," forming the condensed result of these loving 
 Shakespearian labours, wherewith, affectionately and gratefully, 
 we take our leave. 
 
 Charles and Mary Cowden Clarke. 
 Villa Novella, Genoa. 
 
ADDED PREFACE. 
 
 These additional prefatory words are penned by the survivor of 
 the Author-pair who put their names to the Preface originally 
 written for this work, that she may explain why and how it has 
 been modified since then. 
 
 The work was written happily together. After it was finished, 
 Illness — Death — set their iron hands against its production in 
 print. While it lay thus chained in manuscript, an extremely 
 comprehensive Lexicon was brought out, which included many 
 verbal points discussed in our work ; and I resolved to sacrifice 
 these points, amounting to no fewer than 639 pages of written 
 labour. I also condensed much matter, which incurred fresh toil. 
 But the result of this extra care bestowed upon our work has had 
 the effect, I trust and believe, of rendering it more usefully valuable 
 to its readers as a work of reference strictly to Shakespeare's style ; 
 and this belief amply repays the increased trouble it has cost her 
 who signs herself 
 
 The faithfully devoted and loving servant of 
 
 Shakespeare and of all good Shakespearians, 
 
 Mary Cowdex Clarke. 
 
 Villa Novella, Genoa, 
 1S79. 
 
TABLE OF CONTENTS. 
 
 Abrupt Commencements 
 
 Abundant Imagery 
 
 Affected Phraseology 
 
 Affected Use of Words [See close of Peculiar Use of Words] 
 
 Alleged Anachronisms, Discrepancies, &c. . . 
 
 Alliteration 
 
 Antithetical Style 
 
 Appreciation of Friendship : Intimacy 
 
 Authorship and Style of " First Part of King Henry VI.' 
 ISce Recurrence of Particular Points] . . 
 
 Beast and Man . . 
 
 Bitter Puns and Plays on Words : Conceits . . 
 
 Brief Scenes [See Closing Scenes] . . 
 
 Broken Speeches [See Unfinished Sentences] . . 
 
 Cant Terms 
 
 Choruses: Inductions: Prologues: Epilogues . j 
 
 Closing Scenes: Brief Scenes .. 
 
 Coarsenesses and Delicacies 
 
 Coined Words 
 
 Coins 
 
 Conceits [See Bitter Puns, &c.J 
 
 Corruptions 
 
 Crossing Speeches 
 
 Deviating into Various Tenses. . 
 
 Dissonances 
 
 Double Epithets . . 
 
 Dramatic Laws and Art 
 
 Dramatic Time . . 
 
 Dumb Shows 
 
 Elder: Eldest: Old: Older: Oldest 
 
 Elisional Abbreviations . . 
 
 Ellipses of Comparison . . 
 
 Elliptical Style 
 
 EUiptically Used Words 
 
 Emphasis . . 
 
 Enigmatical Phraseology 
 
 
 1 
 4 
 
 
 5 
 
 3] 
 
 604 
 
 
 9 
 
 
 23 
 
 
 24 
 
 
 27 
 
 lutely discusse 
 
 
 
 630 
 
 
 31 
 
 
 33 
 
 
 45 
 
 
 . 765 
 
 
 • 38 
 
 
 42 
 
 
 45 
 
 
 52 
 
 
 54 
 
 
 ■ 65 
 
 
 33 
 
 
 • 67 
 
 
 . 69 
 
 
 73 
 
 
 77 
 
 
 79 
 
 
 80 
 
 
 105 
 
 
 . 283 
 
 
 , 285 
 
 
 . 288 
 
 
 ■ 294 
 
 
 • 295 
 
 
 ■ 312 
 
 
 ■ 325 
 
 . . 
 
 . 32a 
 
TABLE OF CONTENTS. 
 
 PAGE 
 
 Epilogues [See Choruses, &c.] 44 
 
 Exclamations [See Oaths, &c.] 449 
 
 Familiar and Homely Expressions . . . . . . . . . . . . . . 334 
 
 Historians' Passages Adopted . . . . . . . . . . . . . . . . 338 
 
 Hyperbolical Expressions [See Love Exaggerations] 438 
 
 Idioms . , . . . , . . . . . . . . . . . . . . . . 346 
 
 Imperative Mood ; Subjunctive Mood 406 
 
 Inclusive Signification [See Varied Meanings Combined, &c.] . . . . 782 
 
 Incomplete Explanation [See Passages of Incomplete, &c.] . . . . . . 499 
 
 Indications of Conduct, Look, and Gesture .. .. .. .. ■■ .. 407 
 
 Indirect Praise of Character . . . . . . . . . . • . • ■ 4'3 
 
 Inductions [See Choruses, &c.] . . . . . . . . . • • • ■ • 43 
 
 Interjections [See Oaths, &c.] . . . . . . . . • • ■ ■ 449 
 
 Intimacy [See Appreciation of Friendship, &c.1 27 
 
 Ironical Phrases 
 Italian Idiom 
 Iterated Words 
 It Seems . . 
 Jesting 
 Legal Phrases 
 
 417 
 
 421 
 
 422 
 
 428 
 
 429 
 
 432 
 
 Letters Written partly in Verse, partly in Prose 437 
 
 Love Exaggerations . . . . . . • • • ■ • • • ■ ■ • ■ • 438 
 
 Mode of Address or Salutation 439 
 
 Musical Terms 44^ 
 
 Nicknames [See Particular Names] 4S7 
 
 Oaths, Exclamations, &c. . . • . • ■ 449 
 
 Paradoxical Phraseology . . . . • ■ • • • • ■ • • • 47^ 
 
 Paraphrases . . • . ■ • • • • ■ 474 
 
 Parentheses 47^ 
 
 Particular Names 47^ 
 
 Parts of Speech Diversely Used 49^ 
 
 Passages of Incomplete Explanation 499 
 
 Passages of Poetical Licence in Anticipation 502 
 
 Passages of Single Words 5°3 
 
 Passages where an Original Word is Introduced into a Usual Form of Phrase. . 504 
 
 Peculiar Construction . . . . . . • ■ • ■ • ■ • ■ • ■ • • 5°7 
 
 Peculiar Replies . . . . . . . . • • • • • • ■ ■ • • • ■ 5^2 
 
 Peculiar Use of Words . . . . . . . • • • • • ■ • • • • • 526 
 
 Perfect Impression through Imperfect Expression [See Power of Writing 
 
 Silence, &c.] 618 
 
 Perfection by Marriage [See Peculiar Use of Words (" Perfection ") and 
 
 ' S ' Added OR Omitted, i&c.] 5761 677 
 
TABLE OF CONTENTS. 
 
 PAGE 
 
 Personages in the Old Moralities, &c. 605 
 
 Physical Indications ., . . . . . . . . . . . . . . . . 606 
 
 Plays on Words [See Bitter Puns, &c.] 33 
 
 Pleonasms . . . . . . . . . . . . . . . . . . . . 6og 
 
 Poetical Licence in Anticipation [See Passages of Poetical Licenxe, £c.] 502 
 
 Poetic Beauties . . . . . . . . , . . . . . 612 
 
 Points Left for Improvisation 615 
 
 Power in Writing Silence ; and Perfect Impression through Imperfect 
 
 Expression . . . . . . . , . . . . . . gig 
 
 Prologues [Se« Choruses, &C.1 44 
 
 6ig 
 623 
 624 
 627 
 
 Pronunciation 
 Provincial Terms 
 Punctuation 
 
 Recurrence of Particular Points 
 
 Relatively Used Pronouns . . . . . . . . . . . . . , g-2 
 
 Repeated Words ggg 
 
 Rliynes 673 
 
 ' S ' Added or Omitted in the First Folio gyg 
 
 Sarcasms . . . . . . . . . . . . . . g.g 
 
 Satire gyg 
 
 Scenic Arrangements . . . . . . . . . . . . . . gg^ 
 
 Sentences Spoken as What Might be Said [See Ironical Phrases] . . . . 419 
 
 Shakespeare's Self-Illustration and Comment . . . . . . . . . . ggo 
 
 Similes 
 
 Soliloquies 
 
 Spelling of Foreign Words . . . . . . . . . . . . . . _ _ -jq 
 
 Stage Directions and Entrances . . . . , . . . . . , . . _ -jj 
 
 Subjunctive Mood [See Imperative Mood, &c.] 407 
 
 Supernatural Music 
 
 Taking One Bird for Another 
 
 Technicalities 
 
 Terms of Defiance or Challenge 
 
 Things Impersonated . . 
 
 Titles 
 
 Unfinished Sentences . . 
 
 Variations . . 
 
 Varied Meanings Combined in One Word or Sentence 
 
 699 
 701 
 
 723 
 725 
 726 
 
 749 
 750 
 
 763 
 
 771 
 
 7S2 
 
 Verbs Peculiarly Used . . . . . . . . . . o 
 
 Weights and Measures g 
 
 Women's Parts Played by Boys o g 
 
 Words like " Blame," " Fear," &c g 
 
THE SHAKESPEARE KEY. 
 
 ABRUPT COMMENCEMENTS. 
 
 Shakespeare often begins a scene with an abrupt commencement ; 
 with a conversation already begun, and in course of progress, at the 
 time the speakers enter upon the scene. It ser\'es to give an effect of 
 great naturalness and ease to the dialogue : — 
 
 If you misdoubt me that I am not she. — All's W., in. 7. 
 
 We did observe. — R. II., i. 4. 
 
 Well said, my noble Scot. — i H.IV., iv. i. 
 
 His grace is bold, to trust these traitors. — H. V., ii. 2. 
 
 I warrant it is to knight you, captain. — Ibid., iv. 8. 
 
 Not for that neither : here 's the pang. — H. VIII., ii. 3. 
 
 But Montague is bound as well as I. — R. &• Jul., i. 2. 
 
 Who. the Lord Timon ? — Timon, iii. .i. 
 
 Will you think so ? — 0th., iv. i. 
 
 It is the cause, it is the cause, my soul. — Ibid., •. . 2. 
 
 So much for this, sir: now shall you see the other. — Hamlet, v. 2. 
 
 He occasionally makes a character enter with an abruptly com- 
 menced remark, as if in continuation of some speech addressed to the 
 person accompanying the speaker, and not to those already on the 
 scene : — 
 
 'Tis true, fair daughter; and this blessed day. — yolm, iii. i. 
 Oh, sir, you are not right: have you not. — Coriol., ii. 3. 
 
 He sometimes allows his speakers to make abrupt reference to some 
 subject that has been talked of apart by two or more persons while 
 others are occupied more prominently on the scene ; as where Polixenes 
 says to the old Shepherd, in reply to something asked by the latter 
 during the dance : — 
 
 Oh, father, you 'U know more of that hereafter. — W. T., iv. 3. 
 
 Or where Camillo refers to some difficulty that has been suggested by 
 Florizel while Autolycus soliloquises : — 
 
 Nay, but my letters, by this means being there 
 
 So soon as you arrive, shall clear that doubt. — Ibid., iv. 3. 
 
 Or where Brutus says, in reply to something Lucilius has said to him 
 while Cassius and Messala have been engaged in spoken dialogue : — 
 
 Even so, Lucilius. — Jul. C, v. i. 
 
 B 
 
THE SHAKESPEARE KEY. 
 
 Or where Duncan responds to something which Banquo has said in 
 praise of Macbeth's valour, while the two former have been conversing 
 apart during the latter's soliloquy : — 
 
 True, worthy Banquo — he is full so valiant. — Macb., i. 4. 
 
 He sometimes commences a scene with abrupt reference to some 
 unnamed but thoroughly understood person or persons, by allowing 
 the speaker to use only the pronoun " he," " his," " him," " her," 
 " them," or " their," as the case ma}' be ; and the mode in which he 
 employs this expedient of dramatic art occasionally serves as an 
 admirable resource for producing emotional impression. As, for 
 example, where Leontes bursts into the presence of his wife, furiousl} 
 inquiring in reference to the escaped Polixenes : — 
 
 Was he met there ? his train ? Camillo with him? — W. T., ii. i. 
 
 Or where Queen Gertrude shudderingly refuses to admit the poor 
 distracted Ophelia to an interview : — 
 
 I will not speak with her. — Hamlet, iv. 5. 
 
 Or where the Duke of Cornwall, enraged against the supposed 
 treachery of Gloster, says : — 
 
 I will have my revenge, ere I depart his house. — Lear, iii. g. 
 
 Or where Salisbury agitatedly alludes to his determination to join the 
 Dauphin, in the words : — 
 
 I will meet him at Saint Edmund's-Bury. — yohn, iv. 3. 
 
 Or where Antony angrily tells his wife Octavia of her brother's breach 
 of faith towards him : — 
 
 He hath wag'd new wars 'gainst Pompey.— ^n^ <&■ C, iii. 4. 
 
 Or where Cleopatra comes in hurriedly asking for Antony : — 
 
 Where is he.' — Ibid., i. 3. 
 
 Or where Octavius and Antony are made to refer to each other in 
 mutual wrath : — 
 
 He calls me boy; and chides, as he had power to. — Ibid., iv. i. 
 He will not fight with me, Domitius. — Ibid., iv. 2. 
 We have beat him to his camp. — Ibid., iv. 8. 
 Go to him, Dolabella, bid him yield. — Ibid., v. 1. 
 
 In certain instances, Shakespeare has employed the little word "he" 
 with singularly impressive effect, to indicate purposely vague mention 
 of an intended victim by murderous speakers : — 
 
 That we may be admitted where he is. — R. III., i. 3. 
 
 He that 's coming must be provided for. — Macb., i. 5. 
 
 He 's here in double trust. — Ibid., i. 7. 
 
 He has almost supp'd. — Ibid., i. 7. 
 
 The same indefinite monosyllable, used with pointed effect in 
 reference to an understood though unnamed person, is employed where 
 Macbeth seeks to rouse the two Murderers into belief of Banquo's 
 
ABRUPT COMMENCEMENTS. 
 
 having injured them, when the speaker incites them to undertake 
 Banquo's assassination : — 
 
 Know that it was he, in tlie times past, which held you so under fortune. — Macb., iii. i. 
 
 Also, in the infamous Goneril's letter to Edmund, which is found in 
 the slain Oswald's pocket by Edgar ; where the writer refers to her 
 injured husband : — 
 
 You have many opportunities to cut hijn off: ... if he return the conqueror : then 
 am I the prisoner, and his bed my gaol. — Lear, iv. 6. 
 
 Also, where the tribunes, half fearful and repenting of their deed in 
 causing Coriolanus to be banished, creep back from the city gates, 
 alluding to the people and to the object of their excited enmity thus : — 
 
 Bid them all home ; he 's gone. — Coriol., iv. 2. 
 
 In some passages "them" is used abruptly with dramatic and 
 passionate effect : — 
 
 Let them [the mob] pull all about mine ears. — Ibid., iii. 2. 
 Let them [meaning his disaffected nobles] fly all. — Macb., v. 3. 
 
 In the dark grop'd I to find out thetn [the base agents of the king's treachery against 
 the speaker]. — Hamlet, v. 2. 
 
 The pronouns "him" and "their" are employed abruptly, with 
 characteristically reluctant effect, by Gloster in reference to the un- 
 natural conduct of the Duke and Duchess of Cornwall towards the poor 
 old king : — 
 
 When I desired their leave that I might pity him. — Lear, iii. 3. 
 
 One of Shakespeare's natural touches of abrupt reference and intro- 
 duction of subject has exquisitely pathetic and characteristic effect. 
 Although there has been no previous mention of conjugal infidelit}- in 
 the scene, yet both Desdemona and Emilia use the word " such " in a 
 manner to show that the subject has been in their thoughts, that it has 
 lain at the root of their dread that Othello is jealous, and that it is 
 perfectly present to their mind in this unushered allusion : — 
 
 Dost thou in conscience think, — tell me, Emilia, — 
 That there be women do abuse their husbands 
 In such gross kind ? 
 
 Emil. There be some such, no question. 
 
 Des. Would'st thou do such a deed for all the world ? — 0th., iv. 3. 
 
 He even occasionally opens a play with an abrupt commencement 
 that gives excellent dramatic effect of spirit and vigour : — 
 
 As I remember, Adam, it was upon this fashion. — As You L., i. i. 
 Never tell me ; I take it much unkindly 
 That thou, lago, who hast had my purse 
 As if the strings were thine, should'st know of this. — 0th. i. i. 
 Nay, but this dotage of our general's. — Ant. &• C, i. 1. 
 [See Soliloquies.] 
 
 B 2 
 
THE SHAKESPEARE KEY. 
 
 ABUNDANT IMAGERY. 
 
 Shakespeare is so exuberant in fancy, so overflowing with thought 
 and idea, that he occasionally floods a passage with images ; some- 
 times even to the obscuring of its direct drift. See, among many 
 others that might be cited in illustration : — 
 
 Oh, will you eat no grapes, my royal fox ? 
 
 Yes, but you will my noble grapes, an if 
 
 My royal fox could reach them : I have seen 
 
 A medicine that 's able to breathe life into a stone. 
 
 Quicken a rock, and make you dance canary 
 
 With spritely fire and motion ; -whose sfmple touch 
 
 Is powerful to araise King Pepin, nay. 
 
 To give great Charlemain a pen in 's hand, 
 
 And write to her a love-line. — All's W., ii. i. 
 
 This is his uncle's teaching : this is Worcester, 
 
 Malevolent to you in all aspects ; 
 
 Which makes him prune himself, and bristle up 
 
 The crest of youth against your dignity. — r H. IV., i. i. 
 
 All furnish'd, all in arms ; 
 
 All plum'd like estridges (that with the wind 
 
 Bated, like eagles having lately bath'd) ; 
 
 Glittering in golden coats, like images ; 
 
 As full of spirit as the month of May, 
 
 And gorgeous as the sun at midsummer ; 
 
 Wanton as youthful goats, wild as young bulls. 
 
 I saw young Harry — with his beaver on. 
 
 His cuisses on his thighs, gallantly arm'd — 
 
 Rise from the ground like feather'd Mercury, 
 
 And vaulted with such ease into his seat, 
 
 As if an angel dropp'd down from the clouds. 
 
 To turn and wind a fiery Pegasus, 
 
 And witch the world with noble horsemanship. — Ibid., iv. i. 
 
 In the above glowing passage, so richly full of illustration are the 
 sentences — even giving a simile within a simile — that the author's 
 scope has been missed by some emendators ; Rowe, and others, 
 changing "with" to "wing." That clause of the passage, "that 
 with the wind bated, like eagles having lately bath'd," is the speaker's 
 comment upon the effect produced on his sight by the appearance he 
 is imaging to his hearers. He describes the prince and his militar}- 
 companions as all " plum'd like estridges,'' and then, incidentally, gives 
 the impression which these youthful warriors produced upon his sight by 
 the fluttering of their plumed crests ; then resumes his more direct 
 description of the men, by the words " glittering in golden coats." If 
 the construction of the passage caused by Rowe's substituted word be 
 adopted, we have the awkward effect of the warriors having " bated '' ; 
 if however we accept the construction afforded by the original word, we 
 have the poetical effect of their plumes and those of the estridges to 
 whom theirs are compared having " bated " with the wind. To " bate '' 
 is a term in falconry, meaning the fluttering or beating the wings of a 
 hawk (French, battre, to beat) ; also the sedulous spreading and ruffling 
 of the feathers of most birds after bathing, in order that the air may 
 speedily dry them. " Estridges" is an old form of "ostriches," and the 
 
AFFECTED PHRASEOLOGY. 
 
 plumes of this bird are most appropriately introduced here, as they figure 
 in the armorial cognisance of the Prince of Wales. 
 
 As weeds before 
 A vessel under sail, so men obey'd. 
 And fell below his stem ; his sword (death's stamp) 
 Where it did mark, it took ; from face to foot 
 He was a thing of blood, whose every motion 
 Was tim'd with dying cries : alone he enter'd 
 The mortal gate of the city, which he painted 
 With shunless destiny ; aidless came off, 
 And with a sudden re-inforcement struck 
 Corioli like a planet. — CorioL, ii. 2. 
 
 Our poesy is as a gum, which oozes 
 From whence 'tis nourish'd ; the fire i' the flint 
 Shows not till it be struck ; our gentle flame 
 Provokes itself, and, like the current, flies 
 Each bound it chafes. — Timon, i. i. 
 
 His two chamberlains 
 Will I with wine and wassail so convince. 
 That memory, the warder of the brain. 
 Shall be a fume, and the receipt of reason 
 A limbeck only. — Macb., i. 7. 
 
 We 
 Must lave our honours in these flattering streams ; 
 And make our faces vizards to our hearts, 
 Disguising what they are. — Ibid., iii. 2. 
 
 AFFECTED PHRASEOLOGY. 
 
 Our dramatist has given several different specimens of affected 
 phraseology. Of the courtier's euphuism and high-flov^fn diction, as 
 in Le Beau ; where his nervous horror at holding acquaintance with 
 one in court disgrace is shown, when he magnificently assures Orlando 
 that he shall be happy to include him among his intimates in heaven : — 
 
 Sir, fare you well ; 
 Hereafter, in a better world than this, 
 I shall desire more love and knowledge of you. — As You L., i. 3. 
 
 In Osric ; dreading to differ in opinion with the prince who has first 
 observed that the weather is " very cold," and then that it is verj' 
 "hot":— 
 
 Exceedingly, my lord ; it is very sultry, — as 'twere, — I cannot tell how. 
 And bringing the royal invitation to the fencing-match with that flourish 
 of verbal trumpet : — 
 
 Sir, here is newly come to court Laertes ; believe me, an absolute gentleman, full of 
 most excellent differences, of very soft society, and great showing: indeed, to speak 
 feelingly of him, he is the. card and calendar of gentry ; for you shall find in him the 
 continent of what part a gentleman would see. 
 
 The prince at once humours and quietly mocks Osric by replying in 
 even an exaggerated strain of fantastic expression : — ■ 
 
 Sir, his definement suffers no perdition in you; though, I know, to divide him 
 inventorially would dizzy the arithmetic of memory; and yet but raw, neither, in 
 respect of his quick sail. But, in the verity of extolment, I take him to be a soul of 
 great article ; and his infusion of such dearth and rareness, as, to make true diction of 
 
THE SHAKESPEARE KEY. 
 
 him, his semblable is his mirror ; and who else would trace him, his umbrage, nothing 
 more. 
 
 The rejoinder to this shows that Osric perceives nothing of the subtle 
 mockery, but accepts it as genuine elegance in expression ; saying : — 
 
 Your lordship speaks most infallibly of him. 
 For a moment the affected talker is posed by the prince's ultra extrava- 
 gance in the question : — 
 
 The concernancy, sir ? why do we wrap the gentleman in our more rawer breath ? 
 and is perplexed by Horatio's joining in Hamlet's banter. Nevertheless, 
 he soon recovers his wonted glib frippery of language, and thus delivers 
 the remainder of his message : — 
 
 The king, sir. hath wagered with him six Barbary horses : against the which he 
 has imponed. as I take it, six French rapiers and poniards, with their assigns, as girdle, 
 hangers, and so : three of the carriages, in faith, are very dear to fancy, very respon- 
 sive to the hilts, most delicate carriages, and of very liberal conceit. — Hamlet, v. 2. 
 
 A slight touch of courtierly finicalness in phraseology is given where 
 the gentleman answers Edgar's inquir}', " How near's the other army? " 
 by replj-ing : — 
 
 Near, and on speedy foot ; the main descry 
 
 Stands on the hourly thought. — Lear, iv. 5. 
 
 In the brief dialogue between Sir Toby and 'Viola (disguised as the 
 page Cesario), an example is given of the periphrastic language affected 
 by fine gentlemen and professed swordmen : — 
 
 Sir To. Will you encounter the house .' my niece is desirous you should enter, if 
 your trade be to her. 
 
 Vio. I am bound to your niece, sir ; I mean, she is the list of my voyage. 
 
 Sir To. Taste your legs, sir ; put them to motion. 
 
 Vio. My legs do better understand me, sir, than I understand what you mean by 
 bidding me taste my legs. 
 
 Sir To. I mean, to go, sir ; to enter. 
 
 Vio. I will answer you with gait and entrance. — Ta. N.., iii. i. 
 
 Also of the affected and overbearing style of professed duellists ; 
 whom Mercutio scoffs at in the person of Tybalt, when he exclaims 
 against — 
 
 Such antic, lisping, affecting fantasticoes ; these new tuners of accents ! "Byjesu, a 
 very good blade ! — a very tall man !" — R. &• Jnl., ii. 4. 
 
 Again, of the would-be soldierly bluffness and curtness, with use of a 
 hackneyed word or phrase, that were adopted by military adventurers: — 
 
 Bard. My captain, sir, commends him to you ; my captain. Sir John Falstaff, a 
 tall gentleman, by heaven, and a most gallant leader. 
 
 And when Shallow inquires "How my lady his wife doth?" answers: — 
 
 Sir, pardon ; a soldier is better accommodated than with a wife. 
 And finishes by thus vindicating his use of the expression which Shallow 
 has patronised : — 
 
 Pardon me, sir ; I have heard the word. Phrase, call you it ? by this good day, 
 I know not the phrase ; but I will maintain the word with my sword to be a soldier- 
 like word, and a word of exceeding good command, by heaven. Accommodated ; 
 that is, when a man is, as they say, accommodated ; or, when a man is, being, 
 whereby, — he may be thought to be accommodated ; which is an excellent thing. 
 
 2 H. IV., iii. 2. 
 
AFFECTED PHRASEOLOGY. 
 
 Likewise in Nym's surly threats, and pretended recklessness ; — 
 
 For my part, I care not ; I say little ; but when time shall ser\-e, there shall be 
 smiles ; — but that shall be as it may. I dare not fight ; but I will wink, and hold out 
 mine iron : it is a simple one ; but what though ? it will toast cheese, and it will 
 endure cold as another man's sword will: and there an end. . . . 
 
 Faith, I will live so long as I may, that 's the certain of it ; and when I cannot live 
 any longer, I will do as I may ; that is my rest, that is the rendezvous of it. . . . 
 
 I cannot tell: things must be as they may: men may sleep, and they may have 
 their throats about them at that time ; and, some say, knives have edges. It must be 
 as it may : though patience be a tired mare, yet she will plod. There must be con- 
 clusions. Well, I cannot tell. . . . 
 
 I am not Barbason ; you cannot conjure me. I have a humour to knock you indif- 
 ferently well. If you grow foul with me. Pistol, I will scour you with my rapier, as 
 I may, in fair terms : if you would walk off, I would prick your guts a little, in good 
 terms, as I may ; and that 's the humour of it. . . . 
 
 I will cut thy throat, one time or other, in fair terms : that is the hmnour of it. 
 
 //. v., ii. 1. 
 
 Then there is the conventional jargon of the painter and the 
 poetaster. Each affecting to commend the other's production, while 
 occupied in puffing his own, and making ostentatiously modest dis- 
 claimers, while urging praise : — 
 
 Pain. You are rapt, sir, in some work, some dedication 
 To the great lord. 
 
 Poet. A thing slipp'd idly from me. 
 
 Our poesy is as a gum, which oozes 
 From whence 'tis nourish'd: the fire i' the flint 
 Shows not, till it be struck; our gentle flame 
 Provokes itself, and, like the current, flies 
 Each bound it chafes. What have you there? 
 
 Pain. A picture, sir. When comes your book forth ? 
 
 Poet. Upon the heels of my presentment, sir. 
 Let 's see your piece. 
 
 Pain. 'Tis a good piece. 
 
 Poet. So 'tis: this comes off well, and excellent. 
 
 Pain. Indifferent. 
 
 Poet. Admirable ! How this grace 
 
 Speaks his own standing ! what a mental power 
 This eye shoots forth ! how big imagination 
 Moves in this lip I to the dumbness of the gesture 
 One might interpret. 
 
 Pain. It is a pretty mocking of the life. 
 Here is a touch ; is 't good ? 
 
 Poet. I '11 say of it, 
 
 It tutors nature : artificial strife 
 Lives in these touches, livelier than life. 
 
 ***** 
 I have, in this rough work, shap'd out a man. 
 Whom this beneath world doth embrace and hug 
 With amplest entertainment : my free drift 
 Halts not particularly, but moves itself 
 In a wide sea of wax : no levell'd malice 
 Infects one comma in the course I hold; 
 But flies an eagle flight, bold, and forth on. 
 Leaving no tract behind. 
 
 Pain. How shall I understand you ? 
 
 Poet. I will unbolt to vou 
 
 You see how all, &c. — Timon, i. i. 
 
THE SHAKESPEARE KEY. 
 
 And thus the versifier goes on, expatiating upon his own per- 
 formance ; the painter endeavouring to interpose with hints of how 
 much better his own art would suffice to demonstrate the subject in 
 question. But the other perseveres, will not be interrupted, im- 
 patiently exclaiming: "Nay, sir, but hear me on;" and continues 
 his analytical harangue. 
 
 Elsewhere Shakespeare gives the affectation of pedantrj', the self- 
 glorification of empty-headed dealers in scraps of learning, displayed 
 with florid absurdity : — 
 
 Hnl. The deer was, as you know, sanguis, — in blood ; ripe as a pomewater, who 
 now hangeth like a jewel in the ear oi ccelo, — the sky, the welkin, the heaven; and 
 anon falleth like a crab on the face of terra, — the soil, the land, the earth. 
 
 Nath. Truly, Master Holofernes, the epithets are sweetly varied, like a scholar at 
 the least : but, sir, I assure ye, it was a buck of the first head. 
 
 Hoi. Sir Nathaniel, haud credo. 
 
 Dull. 'Twas not a haad credo; 'twas a pricket. 
 
 Hoi. Most barbarous intimation ! yet a kind of insinuation, as it were, in via, in way, 
 of explication ; facere, as it were, replication, or, rather, ostentare, to show, as it were, 
 his inclination, after his undressed, unpolished, uneducated, unpruned, untrained, or 
 rather, unlettered, or ratherest, unconfirmed fashion, — to insert again my haud credo 
 for a deer. 
 
 Dull. I said the deer was not a haud credo ; 'twas a pricket. 
 
 Hoi. Twice-sod simplicity, bis coctus I Oh, thou monster Ignorance, how deformed 
 dost thou look ! 
 
 Nath. Sir, he hath never fed of the dainties that are bred in a book ; he hath not 
 eat paper, as it were ; he hath not drunk ink : his intellect is not replenished ; he is 
 only an animal, only sensible in the duller parts : and such barren plants are set before 
 us. that we thankful should be — which we of taste and feeling are — for those parts that 
 do fructify in us more than he. — Love's L. L., iv. 2. 
 
 And so on, through the whole of the scenes and dialogue wherein 
 Sir Nathaniel and Holofernes figure. 
 
 In the same play there is yet another sample of affected phraseology, 
 — that of the personage who is described as : — 
 
 A man in all the world's new fashion planted, 
 
 That hath a mint of phrases in his brain ; 
 One whom the music of his own vain tongue 
 
 Doth ravish like enchanting harmony. — Ibid., i. i. 
 
 The following is the style in which this Armado describes the 
 struggles of his passion for the countr}' girl, Jaquenetta, with his late- 
 made vow and his long devotion to deeds of arms : — 
 
 I do affect the very ground, which is base, where her shoe, Avhich is baser, guided by 
 her foot, which is basest, doth tread. I shall be forsworn, which is a great argument 
 of falsehood, if I love : and how can that be true love which is falsely attempted ? 
 Love is a familiar; Love is a devil ; there is no evil angel but Love. Yet was Samson 
 so tempted, and he had excellent strength ; yet was Solomon so seduced, and he 
 had a very good wit. Cupid's butt-shaft is too hard for Hercules' club ; and therefore 
 too much odds for a Spaniard's rapier. The first and second cause will not serve my 
 turn ; the passado he respects not, the duello he regards not : his disgrace is to be 
 called boy; but his glory is to subdue men. Adieu, valour! rust, rapier! be still, drum! 
 for your manager is in love; yea, he loveth. Assist me, some extemporal god of 
 rhyme, for I am sure I shall turn sonneteer. Devise, wit ; write, pen ; for I am for 
 whole volumes in folio. — Ibid., i. ^. 
 
ALLEGED ANACHRONISMS, DISCREPANCIES, &-c. 
 
 ALLEGED ANACHRONISMS, DISCREPANCIES, &c. 
 
 Various have been the charges brought against Shakespeare for 
 anachronisms, inappropriatenesses, discrepancies, forgetfulnesses, in- 
 accuracies, &c. ; but we think that in each instance where he has 
 been accused of oversight or error, the insufficient attention or 
 knowledge will be found to be rather that of the critic than of the 
 author. In giving the following passages, to which objections have 
 been made by previous commentators, we shall append our own 
 view of each passage, as our answer in vindication of Shakespeare's 
 intention therein : — 
 
 A piece many years in doing, and now newly performed by that rare Italian master, 
 Julio Romano. — W . T., v. 2. 
 
 The introducing this compliment to the greatest artist of his time, 
 by the greatest dramatist of all time, into a play where Apollo's oracle 
 is consulted, has been denounced as a strange absurdity of anachronism. 
 As well might objection be taken against the allusion to him (Judas 
 Iscariot) "that did betray the best," which occurs in this same play. 
 But the dramatist refers to Julio Romano as the type of artistic 
 excellence, and to Judas Iscariot as the type of treacherous betrayal ; 
 knowing that typical truth in impression is superior to rigidity in 
 accuracy of chronological detail, where dramatic effect is concerned. 
 
 The thunder of my cannon shall be heard. — John, i. 1. 
 
 As John's reign commenced in iigg, and cannon are said to have 
 been first used at the battle of Cressy in 1346, our author is here liable 
 to the charge of anachronism ; but Shakespeare spoke of engines of 
 war in the terms most readily understood by his audience. 
 
 A half-faced groat five hundred pound a year ! — Ibid., i. i. 
 
 Here again is the poet taxed with anachronism, because groats and 
 half-groats, with faces of the king in profile upon them, were not 
 coined until the reign of Henry VII.; whereas the dramatist purposely 
 mentions a piece of money familiar to his audience. 
 
 Report of fashions in proud Italy, 
 
 Whose manners still our tardy apish nation 
 
 Limps after, in base imitation. — R. II., ii. i. 
 
 Whereupon Johnson finds Shakespeare guilty of " charging the times 
 of Richard with a folly not perhaps known then, but very frequent in 
 Shakespeare's time." It is precisely for this reason that the great 
 playwright satirises and denounces it. 
 
 That sprightly Scot of Scots, Douglas, that runs o' horseback up a hill perpendicular, 
 — He that rides at high speed and with his pistol kills a sparrow flying. — i H. IV., ii. 4. 
 
 Here Johnson is severe upon Shakespeare's speaking of a weapon 
 that was not known in the time of Henrj' IV., although the critic 
 simultaneously observes that pistols were in the poet's time "eminently 
 used by the Scots." Of course this was why the dramatist introduced 
 the point, because he knew it was a piece of national characterisation 
 
THE SHAKESPEARE KEY. 
 
 sure to be understood and appreciated by the audience for whom he 
 wrote, and because accuracy in characterisation always weighed with 
 him above strictness in chronology. 
 
 Thy place in council thou hast rudely lost. — i H. IV., iii. 2. 
 
 Steevens and Malone point out an anachronism in this passage, 
 because the event of the Prince of Wales's removal from his post of 
 President of the Council in consequence of his having struck the Lord 
 Chief Justice Gascoigne on the bench, occurred some years later than 
 is here represented ; but Shakespeare anticipated the period for 
 dramatic purposes. 
 
 Shall not thou and I, between Saint Denis and Saint George, compound a boy, 
 half French, half English, that shall go to Constantinople and take the Turk by the 
 beard ?— H. V., v. z. 
 
 Theobald informs us that " Shakespeare has here committed an 
 anachronism. The Turks were not possessed of Constantinople before 
 the year 1453, when Henry V. had been dead thirty-one years." But 
 by allusion to this antedated circumstance, the poet gives animation to 
 his character and dialogue. 
 
 And whereas, before, our forefathers had no other books but the score and the tally, 
 thou hast caused printing to be used. — 2 H. VI., iv. 7. 
 
 Johnson here arraigns the poet for being a " little too early with this 
 accusation," since printing was not invented and introduced till some 
 years later than the period here supposed ; but who would wish a 
 passage that has so much dramatic propriety to have been unwritten 
 because of its chronological impropriety ? 
 
 And set the murderous Machiavel to school. — 3 H. VI., iii. >:. 
 
 Inasmuch as this allusion to the Italian politician involves an 
 anachronism, Warburton prefers the adoption of "the aspiring Catiline," 
 which are the three words that occur in parallel passages of the 
 old play that formed the basis of his present drama. But since 
 Machiavel was popularly known in our dramatist's time as the 
 exemplar of astute political strategists, he in all probability designedly 
 made the substituted allusion, a probability that is confirmed by his 
 having made reference to Machiavel (with the same typical force) in 
 two other of his plays, " The Merry Wives of Windsor " (iii. i), and 
 " The First Part of King Henry VI." (v. 4). 
 
 Not much 
 Unlike young men. whom Aristotle thought 
 Unfit to hear moral philosophy. — Tr. &■ Cr., ii. 2. 
 
 That Hector should cite Aristotle's opinion may subject Shakespeare 
 to the charge of having committed an anachronism ; but, such as it is, he 
 found it in many of the classical poems and old romances that evidently 
 were known to him. Moreover, if a point did but suit the general 
 appropriateness of the theme, this sufficed for Shakespeare as well as 
 for the writers who preceded him. 
 
 Bull-bearing Milo his addition yield 
 To sinewy Ajax. — Ibid., ii. 3. 
 
ALLEGED ANACHRONISMS, DISCREPANCIES, &-c. 
 
 Malone observes : " Our author, here, as usual, pays no regard to 
 chronology. Milo of Croton lived long after the Trojan war." On 
 the contrary, Shakespeare, though usually having regard to chronology, 
 knew when it was better to employ an incident for the sake of apt 
 illustration than to pay strict attention to relative dates. 
 
 Thou wast a soldier even to Cato's wish. — Coriol., i. 4. 
 
 Shakespeare, basing the play upon Plutarch's Life of Coriolanus, and 
 adopting this among many other passages therefrom, occasions Theo- 
 bald to remark: "The poet, hereby following the historian, is fallen 
 into a great chronological inpropriety ; " but it is very possible that the 
 poet, although he knew the historian used an illustration which antici- 
 pated a later period, yet chose to employ the illustration because it 
 would be dramatically effective. 
 
 The most sovereign prescription in Galen is but empiricutic. — Ibid., ii. l. 
 
 This is denounced by Grey as " an anachronism of near 650 years." 
 That Galen was known to Shakespeare's audiences as one of the most 
 celebrated authorities of antique times was quite sufficient for the 
 dramatist's purpose ; who puts the name into Menenius's mouth with 
 appropriate effect, if not with chronological propriety. 
 
 Matrons flung gloves. 
 Ladies and maids their scarfs and handkerchiefs, 
 Upon him as he pass'd. — Ibid., ii. i. 
 
 Because it was not a custom among the Romans, and because it was 
 a custom in the age of Shakespeare, for successful tillers at tourna- 
 ments to have these marks of female favour thrown upon them as they 
 rode round or from the lists, Malone complains that " here our author 
 has attributed some of the customs of his own age to a people who 
 were wholly unacquainted with them." But it was exactly this reason, 
 that his audience would at once comprehend the form of approbation 
 showered upon Coriolanus as a victorious warrior, which induced the 
 dramatist to write the passage as it stands. 
 
 When he might act the woman in the scene. — Ibid., ii. 2. 
 
 Steevens's note on this passage, stating that " the parts of women 
 were, in Shakespeare's time, represented by the most smooth-faced 
 young men to be found among the players," is followed up by a note 
 from Malone, declaring that "here is a great anachronism. There were 
 no theatres at Rome for the exhibition of plays for above 250 years after 
 the death of Coriolanus." But it appears to us that the line may be 
 taken to imply, ' When his youth might have warranted his behaving 
 with no more martial prowess than a woman ' ; although the habit of 
 seeing boys enact women's characters, of course, gave farther force of 
 effect to the line with those for whom it was written. 
 
 I would they would forget me, like the virtues 
 Which our divines lose by them. — Ibid., ii. 3. 
 
 By using the term " divines " here, Shakespeare has brought upon 
 himself the disdain of one critic, Mr. Singer, v^fho calls it " another 
 amusing instance of anachronism." But though it happens to have 
 been applied to ministers of the Gospel in Christian times, it is surely 
 
THE SHAKESPEARE KEY. 
 
 an expression of sufficiently wide signification to admit of being aptly 
 employed in designating interpreters of Divine Nature and Divine 
 Wisdom, in whatever creed or age of the world recognised. 
 
 The noble house o' the Marcians, from whence came 
 That Ancus Marcius, Numa's daughter's son, 
 Who, after great Hostilius, here was king; 
 Of the same house PubHus and Quintus were. 
 That our best water brought by conduits hither; 
 And Censorinus, darling of the people. 
 And nobly nam'd so, twice being censor, 
 Was his great ancestor. — CorioL, ii. 3. 
 
 This passage has caused Shakespeare to be taunted as "he who 
 would disregard such anachronisms, or rather he to whom they were 
 not known" by Malone ; and to be twitted with "haste" and "in- 
 advertency" by Warburton. But although Censorinus, Publius, and 
 Quintus, were in fact descendants, not ancestors, of Coriolanus ; yet 
 the passage in Plutarch (from whose book Shakespeare derived his 
 historic material for this play) is worded with sufficient latitude in 
 expression to warrant the poet in supposing, or choosing to represent, 
 them as being predecessors of the hero — Plutarch saying : "Of the 
 same house " and " also came of that family." 
 
 He sits in his state, as a thing made for Alexander. — Ibid., v. 4. 
 
 It has been pointed out that this is an anachronism, inasmuch as 
 Alexander was not born until 355 B.C., and Coriolanus died 488 b.c. 
 Nevertheless, the poet is dramatically correct in citing Alexander the 
 Great as a type of human grandeur ; Shakespeare ever preferring 
 dramatic fitness in typical expression to rigid fidelity in historic 
 chronology. 
 
 Peace ! count the clock. 
 
 The clock hath stricken three. — Jul. C, ii. i. 
 
 Clocks and watches being unknown to the Romans, Shakespeare has 
 been accused of here committing an anachronism. It is true they 
 measured their time by sun-dials and clepsydrae ; but a sun-dial would 
 not have suited the poet's purpose in a night-scene, and a clepsvdra 
 would have been an unknown instrument to the dramatist's audience. 
 Judging from the free allusion to " clock" which is to be found in many 
 of his plays — even such plays as "Comedy of Errors," "Winter's 
 Tale," and " Cymbeline," where the supposed period of the action 
 renders the allusion, strictly speaking, an anachronism — we believe that 
 Shakespeare uses the word as an acknowledged and readily understood 
 time-measurer, which was what his object required. 
 
 In going back to school in Wittenberg. — Hamlet, i. 2. 
 
 Malone points out that " the University of Wittenberg was not 
 founded till 1502, consequently did not exist in the time to which 
 this play is referred;" but inasmuch as the University of Wittenberg 
 was known by Shakespeare's hearers to exist when he wrote and they 
 listened to his plays, he introduced the allusion. 
 
 The music, ho I 
 Let it alone ; let us to billiards. — Ant. &• C, ii. 5. 
 
ALLEGED ANACHRONISMS, DISCREPANCIES, &-c. 13 
 
 Malone says, " This is one of the numerous anachronisms that are 
 found in these plays. This game was not known in ancient times." 
 The latter is mere vague assertion ; for, there are many probabilities 
 that billiards is only a modern form of an antique pastime. But were 
 it still affirmed that the more recent term is improper in a drama of 
 remote period, we contend that the term which most readily conveys 
 to a modern audience the idea intended to be conveyed of the luxurious 
 pursuits of that " Serpent of old Nile," Cleopatra, would be the best 
 that could here be employed. 
 
 If I can get him within my pistol's length, 
 I'll make him sure. — Per., i. 1. 
 
 As well might Shakespeare have been taxed with anachronism for 
 introducing mention of a " pistol," in the present passage, as in the 
 case objected to by Johnson from " i Henry IV.," ii. 4; and though 
 the same defence cannot be set up for the poet here as we advanced for 
 him there, yet it may be urged that he merely names a weapon 
 familiarly known to his audience, and therefore one that they would 
 recognise as fit for the mention and use of an assassin. 
 
 By the bare scalp of Robin Hood's fat friar. — Two G. of V., iv. i. 
 
 That this allusion to Robin Hood and Friar Tuck, outlaws of 
 Sherwood Forest, should be put into the mouth of the outlaws in a 
 Jilantuan forest need shock no one's sense of appropriateness who 
 bears in mind the poet's privilege to introduce all that may serve to 
 heighten impression ; and reference to a well-known English outlaw 
 would infallibly impress Shakespeare's EngUsh hearers with extra vivid 
 consciousness of outlaw presence. 
 
 Look here what I found on a palm-tree. — As You L., iii. 2. 
 
 Mr. Steevens appends the following remark to this passage: — '-A 
 palm-tree in the forest of Arden is as much out of its place as the 
 lioness in a subsequent scene." The commentator first takes for 
 granted that — because the scene of Lodge's novel (on which the present 
 play is founded) is laid in France, because the novel makes the place of 
 e.xile "the forest of Arden," and because there is a real forest of 
 Ardenne or Ardennes in French Flanders — Shakespeare meant this 
 same Flemish forest, and then asserts that he made a great mistake in 
 introducing a palm-tree and a lioness there. Now we believe that 
 Shakespeare, by his " forest of Arden," meant no special or actual 
 forest, but a typical and ideal forest ; a forest that represents a poetical 
 forest generally, where lovers, dukes, lords, shepherds, jesters, natural 
 philosophers and artificial philosophers, lions and lambs, serpents and 
 goats, oaks and olives, palm-trees and osiers, may all flourish con- 
 tentedly and plausibly, without disturbing the peace of those whose 
 imaginations accept the truths of poetry as universal truth, not mere 
 geographical, animal, or botanical literalities. The old English word 
 " Arden " originally signified woodiness ; it was applied to a large 
 wooded district in Warwickshire, called the Forest of Arden ; and it 
 was the maiden name of Shakespeare's own mother, Mary Arden, 
 whose ancient family derived their name from this very forest of their 
 
H THE SHAKESPEARE KEY. 
 
 county. Well might it in the poet's mind — as it should in the minds 
 of his readers — serve well for the name of the archetype of poetic and 
 romantic forests. 
 
 Near twenty years ago, in Genoa, 
 
 Where we were lodgers at the Pegasus. — Tnm of S., iv. 4. 
 
 Here Steevens flippantly scoffs at Shakespeare for having " taken a 
 sign out of London, and hung it up in Padua." In the first place the 
 commentator might be taunted with making a mistake in citing 
 "Padua" instead of "Genoa"; in the next place, he might have 
 bethought him, that the classical winged horse of poesy was likely to 
 be as popular a sign in the classic land of Italy (where, to this day, 
 classical allusions and classical tokens abound) as we learn that it was 
 in the metropolis of England at the period when Shakespeare wrote. 
 Or the bells of Saint Bennet, sir, may putyou in mind ; one, two, three. — Tw. N., v. i, 
 
 Johnson sneers at the " impropriety" of introducing the bells of Saint 
 Bennet here, as if there could be only an English church of that name 
 with a peal of bells. Not merely are there churches dedicated to San 
 Benedetto to be found in Italy ; monasteries of Benedictine monks and 
 convents of Benedictine nuns sufficiently abound there to make the 
 Clown's allusion to some neighbouring church, monastery, or convent 
 locally correct ; while, moreover, any one acquainted with the perpetual 
 clang and jangle of bells pertaining to Italian religious houses of every 
 kind, can bear witness to the appropriateness of the allusion in this 
 respect also. 
 
 Our ship hath touch'd 
 Upon the deserts of Bohemia. — W. T. iii. 3. 
 
 Johnson is severe upon the " geographical error, by which Bohemia 
 is supposed to be a maritime country." The poet was not troubled by 
 such " errors," which he found in the story whence he derived the plot 
 of this exquisite play ; for the story describes Bohemia as having a sea- 
 coast, and Delphos as an island. He knew well that in a romantic tale 
 or play such deviations from truth and geography detract nothing from 
 the truth of romance and poetry. Nevertheless, for the comfort of 
 persons more solicitous respecting these nice points, we may state that 
 the author of " Consuelo " has attempted to save Shakespeare's credit 
 in this particular, by recording that Ottokar II. possessed, in addition to 
 Bohemia, Austria, Carniola, Istria, and Styria, part of Carynthia, and 
 even a sea-port which he purchased on the Adriatic ; this sea-port being 
 possibly the little port of Naon, bought by King Ottokar with the osten- 
 tatious view of asserting that his dominions extended to the shores of 
 the Adriatic. 
 
 That our dramatist could adhere to strictest accuracy where accuracy 
 is needful to art-verity, we know; therefore we may infer that, where 
 he makes accuracy subservient to typical and poetic truth in productions 
 purely romantic, he has excellent reason for so doing. In the present 
 play he has purposely brought together a host of allusions which, however 
 incongruous if judged according to actual existence, are nowise ill- 
 assorted, if beheld through the medium of imagination ; and thus no 
 violence is done to our sense of poetic propriety or to our poetic 
 
ALLEGED ANACHRONISMS, DISCREPANCIES, &-c. 15 
 
 credence, by finding, assembled together in the " Winter's Tale," 
 reference to Apollo's oracle, an emperor of Russia, a king of Sicilia, 
 a puritan who "sings psalms to hornpipes," "one Mistress Tale- 
 porter," " Whitsun-pastorals" and a baptismal "bearing-cloth." Each 
 of these things, in their several introduction, serve the art-purpose of 
 vividly idealising the subject treated ; and are therefore poetically, if 
 not prosaically, correct. 
 
 Who should withhold me ? 
 
 Not fate, obedience, nor the hand of Mars 
 
 Beckoning with fiery truncheon my retire. — Tr. & Cr., v. 3. 
 
 Steevens observes, " We have here but a modern Mars. Antiquity 
 acknowledges no such ensign of command as a truncheon." And 
 though the commentator has the grace to add, "the spirit of the 
 passage however is such as might atone for a greater impropriety," we 
 can scarcely assent to the imputation of " impropriety " ; since 
 Shakespeare, throughout this play, has adopted the terms and attributes 
 of chivalrous times which he found applied to the Greek and Trojan 
 heroes in the Gothic and romantic versions of the story by Lydgate and 
 Caxton, wherefrom he drew the groundwork for his drama, as well as 
 from the more primitive and purely simple sources of Homer and 
 Chaucer. Some of the expressions thus taken by the dramatist from 
 the two first-named sources give a knightly effect to the characters : 
 so that we find mention made of Troilus's " varlet " (the term used for 
 an attendant upon a knight), of Hector's " armourer " ; jEneas words 
 his challenge to the Greeks in the true chivalric tone, ending with the 
 phrase " not worth the splinter of a lance " ; Nestor speaks of his 
 " beaver " and his " vantbrace " ; Achilles says " that Hector, by the 
 fifth hour of the sun, will, with a trumpet, 'twixt our tents and Troy, 
 to-morrow morning call some knight to arms " ; Diomed bids his 
 servant take the steed which he has won in battle to Cressid as a token 
 that he is her " knight by proof" ; and we hear that Hector " fights on 
 GalathS his horse " : all of which, in combination, render the use of 
 the term " truncheon " no impropriety, as belonging to those usages of 
 knight-errantry with which the antique times of Troy and Greece in 
 this drama are consociated by the author, for the sake of giving colour 
 and refinement to his picture. 
 
 I am attended at the cypress grove : I pray you 
 ('Tis south the city mills) bring me word thither 
 How the world goes. — CorioL, i. 10. 
 
 Tyrwhitt inquires, "Where could Shakespeare have heard of these 
 7nills at Antium ? " And Steevens replies, " Shakespeare is seldom 
 careful about such little improprieties." But is there any " impro- 
 priety " at all — is there not rather propriety and vividness of effect- 
 in introducing a touch of local detail that gives force and naturalness 
 to the dialogue and situation ? 
 
 To beg of Hob and Dick, that do appear. 
 Their needless vouches ? — Ibid., ii. 3. 
 
 Malone, with amusing severity, says, " By strange inattention our 
 
i6 THE SHAKESPEARE KEY. 
 
 poet has here given the names (as in many other places he has attributed 
 the customs) of England to ancient Rome. It appears that these were 
 some of the most common names among the people in Shakespeare's 
 time." Precisely so ; and this is why the great play- writer, with his 
 usual attention to dramatic fitness, introduced names that were so 
 familiar to his audience as to be employed to express the rabble 
 generally — "Jack, Tom, and Harry,'' or " Hob and Dick." 
 
 They are worn, lord consul, so. — CorioL, iii. i. 
 
 Again Malone is severe upon Shakespeare, because he " has here, as 
 in other places, attributed the usage of England to Rome. In his 
 time the title of lord was given to many officers of state who were not 
 peers ; thus, lords of the council, lord ambassador, lord general, &c." 
 This was exactly a reason for the dramatist to employ an expression 
 which he knew would be at once understood by the public whom he 
 addressed, and therefore would well impress upon their mind the point 
 he wished to emphasise — Coriolanus's new title and dignity. 
 
 Let them pull all about mine ears ; present me 
 
 Death on the wheel, or at wild horses' heels ; 
 
 Or pile ten hills on the Tarpeian rock. — Ibid., iii. 2. 
 
 Malone takes great pains to show that neither breaking on the wheel 
 nor tearing to pieces by wild horses were punishments known to the 
 Romans ; and therefore he objects to their being introduced here. As 
 well might it be said that to " pile ten hills on the Tarpeian rock " was 
 never known to be done in Rome as a means of punishing by death. 
 For the purposes of poetic and dramatic effect, Shakespeare's putting 
 these words into Coriolanus's mouth has a truth of appropriateness far 
 beyond that demanded by the accuracies of chronological fact. 
 
 Clubs, bills, and partisans \—R. &• jful., i. x. 
 
 To those who cavil at our poet's introducing this well-known rallying 
 cry of old London streets into 'Verona streets, we may reply that the 
 fact of its familiarity to the hearers of the play rendered it appropriate 
 from the dramatist's pen, as the surest means of conveying to their 
 minds the incident of a popular brawl in a public thoroughfare. 
 
 Stay not to question, for the watch is coming. — Ibid., v. 3. 
 
 It has been objected that no such establishment as that of night- 
 watchmen existed in Italian cities ; nevertheless, not only did Shake- 
 speare find mention of " the watch " in the old poem whence he took 
 the story of this play ; but much the same remarks apply to the present 
 passage as we appended to the previous one. 
 
 Believe me, I had rather have lost my purse full of cruzadoes. — 0th., iii. 4. 
 
 Douce observes, " The cruzado was not current, as it should seem, 
 at 'Venice, though it certainly was in England in the time of Shake- 
 speare, who has here indulged his usual practice of departing from 
 national costume." On the contrary, Shakespeare has here followed 
 his usual practice of making the accuracies of national costume a 
 secondary consideration to that of facile popular comprehension of 
 
ALLEGED ANACHRONISMS, DISCREPANCIES, &c. 17 
 
 foreign allusions. That " cruzadoes " were foreign coins well known 
 to English people, sufficed for the dramatist's purpose. 
 
 This new governor 
 Awakes me all the enrolled penalties 
 Which have, like unscour'd armour, hung by the wall 
 So long that nineteen zodiacs have gone round 
 .\nd none of them been worn. — M.for M., jl. 3- 
 
 Because the duke, in the next scene, is made to speak of these 
 penalties as having been left "fourteen years" unenforced, Theobald 
 complains of the discrepancy here, and says- he makes no scruple of 
 changing " fourteen " to "nineteen." But Shakespeare occasionally 
 has similiar variations in statement, such as we find in Nature, whom 
 he copied with the implicitness of a Chinese artificer and the fidelity of 
 a true poet. That a young fellow like Claudio should carelessly 
 mention somewhere about the period in question, while the staid duke 
 cites it exactly, is most natural and characteristic. 
 
 WTien last the young Orlando parted from you, 
 He left a promise to return again 
 Within an hour. — As You L., iv. 3. 
 
 Johnson authoritatively says, " We must read, ' within two hours ; ' " 
 because when Orlando parts from the forest youth in act iv., sc. i., he 
 has said, " For these two hours, RosaHnd, I will leave thee." But 
 similar discrepancies of stated times are not unfrequenth' made on 
 purpose by Shakespeare, where he wishes to produce the effect of vague 
 period or indefinite lapse from epoch to epoch. 
 
 Bid him shed tears, as being overjoy'd 
 To see her noble lord restor'd to health, 
 Who for this seven years hath esteemed him 
 No better than a poor and loathsome beggar. 
 
 Tarn, of S., Indue. 1. 
 
 In order to make this passage agree with those in the following 
 scene, where "fifteen years" are mentioned as the period of Sly's 
 supposed delusion, Theobald altered "this seven years" to "twice 
 seven years." But we have shown how Shakespeare intentionally 
 gives these varied statements in time ; and in the present instance 
 we think he did so to impart a natural and characteristically humorous 
 effect in the servant's exaggeration of his lord's commands. 
 My youngest boy, and yet my eldest care. — Com. ofE., i. i. 
 
 Mason says, " Shakespeare has here been guilty of a little forget 
 fulness. iEgeon had said that the youngest son was that which his 
 wife had taken care of : — 
 
 My wife, more careful for the latter -born. 
 Had fasten'd him unto a small spare mast. 
 
 It appears to us that the " forgetfulness " is the commentator's, not 
 the dramatist's. Mr. Mason forgets that though the description states 
 that the wife fastened the latter-born to the mast, it does not state that 
 she fastened herself to the same end of the mast with her youngest 
 son : on the_ contrary, the account of the arrangement of the two pair 
 of twin children, with their parents as their protectors bound at 
 
 c 
 
i3 THE SHAKESPEARE KEY. 
 
 " either end the mast," and then the accident which divided the mast 
 in twain, is so managed by the dramatist as to allow of some latitude 
 in construing the mode in which the two sets of persons are saved ; 
 thus, when we afterwards find that it was the elder son who escaped 
 with the mother, and the younger son with the father, there is no 
 violation of consistency. Moreover, " eldest " here bears the sense of 
 ' most important,' ' first needing attention.' [See Elder, Eldest, &c.] 
 Take what wife you will. — Her. of V., ii. g (schedule). 
 Upon this passage Johnson remarks, " Perhaps the poet had for- 
 gotten that he who missed Portia was never to marry any woman." 
 But "Take what wife you will" does not so much mean "take in 
 future " as " might at any time have taken ; " and even if the " will " be 
 strictly accepted as referring to a coming period, it would be but an 
 added gibe in the mocking "schedule" — a reminder of that wedlock 
 which is henceforth forbidden. 
 
 Methought you said 
 You saw one here in court could witness it. — AlVs W., v. 3. 
 
 Blackstone sharply says, " The poet has here forgot himself. Diana 
 has said no such thing." No ; the poet here remembers his own 
 dramatic practice of occasionally allowing certain points to be under- 
 stood, for the sake of succinctness in explanation ; more particularly 
 so towards the close of his plays and during a winding-up scene, — as 
 in the present instance. [See Closing Scexes : Brief Scenes.] 
 
 Thou wouldst have poison'd good Camillo's honour, 
 
 To have him kill a king. — W. T., iii. .i, 
 
 Malone scoffingly inquires, " How should Paulina know this ? No 
 one had charged the king with this crime except himself, while Paulina 
 was absent attending on Hermione. The poet seems to have forgotten 
 this circumstance." Rather, the critic seems to have forgotten, or to 
 have been ignorant, that Shakespeare sometimes permits such points 
 as these, which are perfectly known to the audience, to be taken for 
 granted as known to the persons speaking. 
 
 Would I had been by, to have helped the old man ! — Ibid., iii. 3. 
 
 Steevens is contemptuously lenient with Shakespeare for having 
 •' inadvertently given this knowledge" [that Antigonus was old] "to 
 the Shepherd who had never seen him." The inadvertency is the 
 commentator's, who not only fails in being sure that the tone of the 
 Clown's description allows age and incapacity for escape to be inferred, 
 but also fails in the perception that the dramatist is here following a 
 usual artistic practice of his. That this is an artistic practice, and not 
 a " forgetfulness," or " oversight," or " carelessness," or " inad- 
 vertence" — each of which have been such favourite accusations against 
 him — our present collected passages suffice evidently to show. 
 
 I would to heaven, 
 So my untruth had not provok'd him to it, 
 The icing had cut off my head with my brothers. — R. II., ii. ■^. 
 
 Ritson points out that " none of York's brothers had his head cut off, 
 either by the king or any one else," adding, " the Duke of Gloster, to 
 whose death he probably alludes, was secretly murdered at Calais, 
 
ALLEGED ANACHRONISMS, DISCREPANCIES, &-c. 19 
 
 being smothered between two beds." And Singer suggests that "the 
 poet may have confounded the death of Arundel, who was beheaded, 
 with that of Gloster." In our opinion, York is here made by the 
 dramatist to refer to the king's threat of having Gaunt beheaded at the 
 time he was dying (in the previous scene); and that, in his present 
 state of fluster, York confusedly recalls the circumstance with the 
 incoherence and agitation that characteristically mark his utterance at 
 this perplexing juncture. 
 
 But which of you was by 
 
 (You, cousin Nevil, as I may remember), 
 
 When Richard, with his eye brimful of tears — 
 
 Then check'd and rated by Northumberland — 
 
 Did speak these words, now prov'd a prophecy ? — 2 H. IV., iii. i. 
 
 Johnson observes, "whether the king's or the author's memory fails 
 him, so it was, that "Warwick was not present at that conversation." 
 That there was no failure of memory on the part of the author is shown 
 by his care to insert the words " as I may remember," which imply 
 that the king is speaking with avowed latitude. 
 
 Since his majesty went into the field. — Macb., v. 1. 
 
 Here Steevens remarks, " This is one of Shakespeare's oversights. 
 He forgot that he had shut up Macbeth in Dunsinane and surrounded 
 him with besiegers," afterwards adding, "our poet, in the haste of 
 finishing his play, forgot his plan." The charge of oversight and 
 forgetfulness lies surely with more propriety against the fault-finder, 
 who overlooks the circumstance that it has been before mentioned how 
 Macbeth "prepares for some attempt of war," and that Rosse says, 
 " I saw the tyrant's power a-foot," and also forgot that the warlike 
 usurper would be sure to superintend these military preparations ere he 
 inclosed himself in his stronghold to await the expected assailants. 
 
 How long hast thou been a grave-maker ? — 
 
 Of all the days i' the year, I came to 't that day that our last King Hamlet o'ercame 
 Fortinbras. — 
 
 How long is that since ? — 
 
 Cannot you tell that? every fool can tell that: it was the very day that young 
 Hamlet was born ; . . . 
 
 I have been sexton here, man and boy, thirty years. — Hamlet, v. 1. 
 
 Blackstone says, " By this scene it appears that Hamlet was then 
 thirty years old, and knew Yorick well, who had been dead twenty-two 
 years. And yet in the beginning of the play he is spoken of as a very 
 young man, one that designed to go back to school, i.e., to the University 
 of "Wittenberg. The poet in the fifth act had forgot what he wrote in 
 the first.'' Not at all ; Shakespeare employed the term, " going to 
 school," which was in his time used for attending college, or being an 
 academic student. He has made Hamlet a man of thirty, to account 
 for his mature reflections ; but he has also made him possessed of 
 the attractions of a still young man, and has taken care to associate 
 the idea of youth all through the play with the various mentions of 
 the prince. The dramatist's story, his development of character, 
 demanded that the hero of this play should be, so to say, both youthful 
 and mature ; both personally young and mentally experienced ; and 
 
THE SHAKESPEARE KEY. 
 
 Shakespeare has, with his wonted felicity of conveying blended ini- 
 pressions, contrived to present this dual combination in the indivi- 
 duality of Hamlet. 
 
 Althea dreamed she was delivered of a firebrand. — 2 H. IV,, ii. 2. 
 Johnson observes, " Shakespeare is here mistaken in his mythology, 
 and has confounded Althea's fire-brand with Hecuba's." Not so ; 
 Shakespeare has elsewhere proved (in two passages : one in " The 
 Second Part of Henry VI.," i. i., where York says, "As did the 
 fatal brand Althea burn'd unto the prince's heart of Cah'don " ; and 
 one in " Troilus and Cressida," ii. 2., where Cassandra says, 
 " Our fire-brand brother, Paris, burns us all," ) that he per- 
 fectly knew both these mythological stories ; but he, like the true 
 dramatist that he is, intentionally put the blunder into the mouth of 
 FalstafPs page, who may be supposed to have picked up a smattering 
 knowledge of mythological allusion from associating with his master 
 and Prince Hal. Shakespeare has even taken care to draw attention to 
 its being a purposed mistake, by making the prince give the boy a 
 crown in reward for what he ironically terms his "good interpre- 
 
 tation. 
 
 How chance the prophet could not at that time 
 
 Have told me, I being by, that I should kill him. — R. III., iv. 2. 
 
 Malone sneeringly says, "The Duke of Gloster was not by when 
 Henry uttered the prophecy. Our author seldom took the trouble to 
 turn to the plays to which he referred." That Shakespeare, of all 
 dramatists, should be accused of seldom taking trouble is truly absurd ; 
 the very care and skill with which he made strictness of historic fact 
 subordinate to the requirements of dramatic art, suffice to absolve him 
 from the charge. In the present instance, he but gives effect to Richard's 
 scoff by making him misstate the attendant circumstances of the pro- 
 phecy he is citing. 
 
 I, that was washed to death with fulsome wine. — Ibid., v. 3. 
 
 Steevens pertly remarks, " Shakespeare seems to have forgot himself. 
 The duke (as appears from act i., sc. 4) was killed before he was thrown 
 into the malmsey-butt, and consequently could not be wash'd to death." 
 Had Mr. Steevens carefully scanned the scene he refers to, he might 
 have perceived that the First Murderer stabs Clarence twice, saying, " If 
 all this will not do, Fll drown you in the malmsey-butt within ; " and 
 immediately carries off his victim. Thus, the dramatist gives us ground 
 to suppose that the dying man hears these words, and, half-murder'd, is 
 flung into the wine to be finally " wash'd to death.'' 
 
 More dances my rapt heart 
 Than when I first my wedded mistress saw 
 Bestride my threshold. — CorioL, iv. 5. 
 
 Steevens observes, " Shakespeare was unaware that a Roman bride, 
 on her entry into her husband's house, was prohibited from bestriding 
 his threshold ; and that, lest she should even touch it, she was always 
 lifted over it." Instead of proving that Shakespeare was " unaware " 
 of the custom in question, we think the present passage indicates that 
 
ALLEGED ANACHRONISMS, DISCREPANCIES, &c. 21 
 
 he knew there was a classical ceremonial in receiving a bride at the 
 entrance of her bridegroom's house ; and that by making Aufidius 
 advert thus particularly to the occasion, the poet evinces his perfect 
 consciousness that there was a solemn rite therewith connected. May 
 it not be Mr. Steevens betrays that he was " unaware" of the sense in 
 which Shakespeare here uses the word "bestride"? which, in the 
 present passage, is not to be taken literally for " step across," but is to 
 be accepted as meaning "pass over," "cross over." Shakespeare thus 
 uses the word " stride," in " Cymbeline," iii. 3, where we find : — 
 
 A prison for a debtor, that not dares 
 To stride a limit. 
 
 Meaning to overpass a prescribed bound. 
 
 How has the ass broke the wall, that thou art out of the city? — 
 Yonder comes a poet and a painter: the plague of company light upon thee. — 
 Timon, iv. 3. 
 
 Because the commentators assume "yonder" to indicate a spot 
 within view, they blame our author's dramatic arrangement here ; and 
 Reed speaks of " the negligence of Shakespeare," while Malone says, 
 " Shakespeare was not very attentive to these minute particulars." But 
 we find a much better solution of the difficulty than imputing negli- 
 gence and inattention to the most finished dramatist ever known, by 
 believing that "yonder" is here used for "over there," "from that 
 place" ; since Shakespeare often uses the word " yonder " in passages 
 where the object spoken of is not seen by the speaker. 
 
 When she first met Mark Antony, she pursed up his heart, upon the river of 
 Cydnus. — Ant. (&■ C, ii. z. 
 
 Mason says, " This is a strange instance of negligence and inatten- 
 tion. Enobarbus is made to say that Cleopatra gained Antony's heart 
 on the river Cydnus ; but it appears from the conclusion of his own 
 description that Antony had never seen her there ; that, whilst she was 
 on the river, Antony was sitting alone, enthroned in the market-place." 
 Surely, it might be retorted that the negligence and inattention are the 
 commentator's ; since he did not perceive that " upon the river 
 Cydnus " is here used to signify the district on the shores of the river 
 Cydnus, including the " city " which " cast her people out upon her," 
 and its "market-place" wherein "Antony" sat " enthron'd." The 
 idiom " upon the Seine," or " upon the river Thames," is employed to 
 express the adjacent shores of those streams, the country in their 
 neighbourhood, the land on their banks. 
 
 The herbs that have on them cold dew o' the night 
 
 Are strewings fitt'st for graves. Upon their faces. 
 
 You were as flowers, now withered : even so 
 
 These herblets shall, which we upon you strow. — Cym.. iv. 2. 
 
 Malone observes, " Shakespeare did not recollect when he wrote 
 these words, that there was but one face on which the flowers could be 
 strewed"; and Singer remarks, "It is one of the poet's lapses of 
 thought." For our parts, we can rather imagine a passage of 
 Shakespeare's to be misapprehended by its peruser than that he himself 
 " did not recollect" what he was about, or that he wrote with any 
 
THE SHAKESPEARE KEY. 
 
 "lapse of thought." It seems to us that here " Upon their faces " 
 does not refer so much to the faces of the two bodies now lying before the 
 speaker as to the faces of corses generally, when prepared for burial, 
 arid having flowers strewn upon them, or when already in their 
 " graves," and having " strewings " scattered upon that portion of the 
 mound of earth beneath which the head and face lie. 
 
 Or I '11 be buried in the king's highway, 
 
 Some way of common trade where subjects' feet 
 
 May hourly trample on their sovereign's head. — R. II., iii. 3. 
 
 Johnson's note on this passage contains the singular sentence, 
 " Shakespeare is very apt to deviate from the pathetic to the ridicu- 
 lous ; " (! ! !) and expresses the wish that the speech of Richard had 
 ended at the line last quoted. The dramatist knew, what the critic 
 could not discern, that lengthy lamentation and diffuse self-pity ings are 
 the very characteristics of the weak king's diction. 
 
 That fought with us upon Saint Crispin's day. — H. V., iv. 3. 
 
 The spirited speech which concludes with the above line is pronounced 
 by Johnson to be " too long" ! 
 
 Give me another horse : bind up my wounds. 
 
 Have mercy, Jesu ! Soft ! I did but dream. — R. III., v. 3. 
 
 Upon the wonderfully conceived speech of a terror-stricken con- 
 science, commencing with these two lines, Johnson observes, " There 
 is in this, as in many of our author's speeches of passion, something 
 very trifling, and something very striking. Richard's debate whether 
 he should quarrel with himself is too long continued." 
 
 O proper stuff ! 
 This is the very painting of your fear. — Macb., iii. 4. 
 
 At the conclusion of Lady Macbeth's energetic remonstrance, com- 
 mencing thus, Johnson appends the remark, " This speech is rather too 
 long for the circumstances in which it is spoken." Xow, if reference 
 be made to the above-cited four speeches against which Johnson brings 
 the charge that each of them is too long, we think the referrer will 
 agree with us that the fittest response to the commentator is the one 
 made by Hamlet to Polonius : — " It shall to the barber's, with your 
 beard." 
 
 One would not be rough or trenchant with a critic who has so good 
 a claim to our respect in many points as Dr. Johnson ; but when we 
 recall some of his own rough and trenchant animadversions upon our 
 beloved Shakespeare, we cannot help feeling somewhat of bitterness. 
 As a vindication of our resentment, and as an apt climax to our present 
 heading, we will quote Johnson's concluding note upon " Cymbeline " : 
 " This play has many just sentiments, some natural dialogues, and 
 some pleasing scenes, but they are obtained at the expense of much 
 incongruity. To remark the folly of the fiction, the absurdity of the 
 conduct, the confusion of names and manners of different times, and 
 the impossibility of the events in any system of life, were to waste 
 criticism upon unresisting imbecility (! 1 ! !), upon faults too evident 
 for detection and too gross for aggravation." To our thinking, on the 
 
ALLITERATION. 
 
 contrary, the incongruities of Druidical, Pagan, and Christian that 
 may be traced in this enchanting romantic drama — among other minor 
 so-called inconsistencies — were purposely here co-introduced by the 
 dramatist as essential to his high art-purpose of depicting the existence 
 of purest religion and purest morals amid primitive forms. How should 
 it be objected that Imogen in one single exclamation combines an 
 address to a Pagan god and to a Christian institution (" O Jove ! I think. 
 Foundations* fly the wretched ") when we perceive the manner in 
 which the poet has made her a perfect e.xemplar of peerless woman- 
 hood, combining the simplicity of Druid times, the nobleness of antique 
 classical times, and the charity of Christian times ? Why should we 
 take exception against the ancient Briton, Posthumus, uttering so 
 Christian a sentiment as this: " Kneel not to me: the power that I 
 have on you is to spare you ; the malice towards you to forgive you : 
 live, and deal with others better," when we recall that the speaker's 
 character has been drawn throughout with a view to show how the 
 spirit of Christianity prevails to inspire a man during his gradual 
 growth from Pagan vindictiveness and revenge into tolerance and for- 
 bearance, with forgiveness of injury ? Need we care that Belarius 
 couples an allusion to Saracenic giants, who " keep their impious tur- 
 bands on, without good-morrow to thesun," in the same sentence with 
 his admonition to the two princely boys "to adore the heavens 
 with holiest morning worship, when we remember how divinely our 
 Shakespeare has denoted natural piety, reverence of youth to age. 
 instinctive affection, and all generous impulses of innate goodness 
 in these young born princes peasant-bred ? We cannot help thinking 
 that " Cymbeline," instead of being one of Shakespeare's least con- 
 gruously conducted plays, is rather one of those in which he best 
 carries out his own supreme dramatic law of unity in moral design 
 and impression. 
 
 ALLITERATION. 
 
 Shakespeare satirises the over-use of alliteration in style, which was 
 in his time a fashionable affectation, Holofernes — reading aloud to 
 Sir Nathaniel the verses he has composed in honour of the princess's 
 hunting, which he calls " an extemporal epitaph on the death of the 
 deer" — says, " I will something affect the letter, for it argues facilitv " 
 and then proceeds : — 
 
 The preyful princess pierc'd and prlck'd a pretty pleasing pricket ; 
 
 Some say a sore, or else sorel, till now made sore with shooting. 
 The dogs did yell : put 1 to sore, then sorel jumps from thicket ; 
 
 Or pricket, sore, or else sorel ; the people fall a-hooting, 
 If sore be sore, then 1 to sore makes fifty sores : O sore 1 ! 
 Of one sore I a hundred make, by adding but one more 1. — Love's L. L.. iv. 2. 
 
 * Establishments founded by charitable persons, with a settled revenue, where alms 
 and relief were given. 
 
THE SHAKESPEARE KEY. 
 
 Again in the specimen which Nick Bottom selects for the purpose of 
 showing how well he can spout and rant : — 
 
 The raging rocks 
 And shivering shocks 
 Shall break the locks 
 
 Of prison-gates ; 
 And Phibbus' car 
 Shall shine from far 
 And make and mar 
 
 The foolish fates. — Mid. N. D.. i. 2. 
 
 Shakespeare himself occasionally uses alliteration for a special pur- 
 pose of effect. As where Biron is raihng at love : — 
 
 This tainipled, whining, purblind, wayward boy ; . . . 
 Th' anointed sovereign of sighs and groans, 
 Liege of all loiterers and malcontents, 
 Diead prince of plackets. — Love's L.L., iii. i. 
 
 And where Biondello is heaping up contumelious description on the 
 steed which brings Petruchio to the wedding : — 
 
 Sped with spavins . . . stark spoiled with the staggers, begnawn with the bats, 
 swayed in the back, and shoulder-shotten ; . . . two letters for her name fairly set down 
 in studs, and here and ihere pieced with packthread. — Tam. of S.. iii. 2. 
 
 Also, where Mercutio is jeeringly citing some of the noted beauties of 
 antiquity, as compared with Romeo's charmer, Rosaline : — 
 
 Laura to his lady was a kitchen-wench ; . . . Dido, a dowdy; . . . Helen and Hero, 
 hildings and harlots. — R. <&■ jfuL, ii. 4. 
 
 Likewise, where the insolent lago is coarsely goading Brabantio 
 into alarm at his daughter's elopement with the Moor : — 
 
 You '11 have your nephews neigh to you ; you '11 have coursers for cousins, and genncts 
 for germans. — 0th., i. i. 
 
 And, again, where he is rollickingly describing the powers of the 
 English in drinking, as an incitement to Cassio to get drunk : — 
 
 I learned it in England, where, indeed, they are most potent in potting. — Ibid., ii. 3. 
 
 ANTITHETICAL STYLE. 
 
 Shakespeare, among the many varied resources of expressive stj-le. 
 has availed himself of antithesis in several forms. He sometimes in- 
 troduces words, antithetical to each other, in the same sentence ; — 
 
 I forget : 
 But these sweet thoughts do even refresh my labours ; 
 Most busy, least when I do it.* — Temp., iii. i. 
 Love, therefore, and tongue-tied simplicity 
 In least speak most, to my capacity. — Mid. N. D.. v. i. 
 
 • The Folio prints " lest " for " least " in this passage ; and many substitutions have 
 been made for this word by various commentators. But we think that the other 
 instances here cited by us of passages similarly constructed, ser\-e to prove that the 
 antithesis of "most" and "least" was intended by Shakespeare in the present 
 instance. 
 
ANTITHETICAL STYLE. 
 
 Chewing the food of sweet and bitter fancy. — As You L., iv. 3. 
 Hold little faith, though thou hast too much isai.—Tw. N., v. i. 
 
 Then poor Cordelia ! 
 And yet not so ; since, I am sure, my love's 
 More richer than my tongue — Lear, i. i. 
 I could have given less matter a better ear. — Aiit. &• C, ii. 1. 
 The scriptures of the loyal Leonatus, 
 All turn'd to heresy ? — Cym., iii. 4. 
 But to win time, to lose so bad employment. — Ibid., iii. 4. 
 
 Sometimes he uses an epithet that is antithetical with the noun to 
 which it is appended. [_See Love-exaggerations] : — 
 
 This senior-junior, giant-dwarf, Dan Cupid. — Love's L. L., iii. i. 
 According to the fool's bolt, sir, and such dulcet diseases. — As You L., v. 4. 
 Dead life, blind sight, poor mortal living ghost. — R. III., iv. 4. 
 Courteous destroyers, affable wolves, meek bears. — Timon, iii. 6. 
 O thou sweet king-killer, and dear divorce 
 'Twixt natural son and sire! thou bright defiler. — Ibid., iv. 3. 
 And come down -with fearful bravery. — Jul. C, v. 1. 
 Such a holy witch, that he enchants societies. — Cym., i. 7. 
 most delicate fend ! 
 Who is 't can read a woman ? — Ibid., v. 5. 
 How now, wholesome iniquity. — Per., iv. 6. 
 
 And he sometimes hnks antithetical terms together in a sentence : — 
 
 Thy speaking of my tongue, and I thine, most truly falsely, must needs be granted 
 to be much at one.— H. V., v. 2. 
 
 Ignorance itself knows is so abundant scarce. — Tr. &• Cr., ii. 3. 
 Turn all her mother's pains and benefits 
 To laughter and contempt. — Lear, i. 4. 
 
 Sometimes he has entire passages of antithetical diction : — 
 
 The king's a beggar, now the play is done : 
 
 All is well ended, if this suit be won, 
 
 That you express content ; which we will pay. 
 
 With strife to please you, day exceeding day : 
 
 Ours be your patience then, and yours our parts ; 
 
 Your gentle hands lend us, and take our hearts. — All's IK., v. 3. 
 
 Woe's scene, world's shame, grave's due by life usurp'd. 
 
 Brief abstract and record of tedious days. 
 
 Rest thy unrest on England's lawful earth, 
 
 Unlawfully made drunk with innocent blood ! — R. III., iv. 4. 
 
 Bids the wind blow the earth into the sea. 
 
 Or swell the curled waters 'bove the main.' — Lear, iii. i. 
 
 But that your royalty 
 Holds idleness your subject, I should take you 
 For idleness itself. — 
 
 'Tis sweating labour 
 To bear such idleness so near the heart. — Ant. &• C, i. 3. 
 
 The borders maritime 
 Lack blood to think on't, a.nA flush youth revolt. — Ibid., i. 4. 
 The breaking of so great a thing should make 
 A greater crack : the round world 
 Should have shook lions into civil streets. 
 And citizens to their dens. — Ibid., v. j.. 
 
 ' Main " here used for the mainland. 
 
•^6 THE SHAKESPEARE KEY. 
 
 There are several instances of Shakespeare using the words 
 " general " and " particular " antithetically ; in the same way that he 
 uses " beast " and " man " [See Beast and Man] : — 
 
 My brother general, the commonwealth, 
 
 To brother born a household cruelty, 
 
 I make my quarrel in particular. — 2 H. IV., iv. i. 
 
 Where 's our general ? 
 Here I am, thov. particular fellow. — 2 H. VI., iv. 2. 
 Now let the general trumpet blow his blast, 
 Particularities and petty sounds 
 To cease! — Ibid., v. 2. 
 
 For the success, 
 Although particular, shall give a scantling 
 Of good or bad unto the general. — Tr. &■ Cr., i. 3. 
 Our general doth salute you with a kiss. 
 Yet is the kindness hut particular ; 
 'Twere better she were kiss'd in general. — Ibid., iv. 5. 
 
 You hear what he hath said. 
 Which was sometime his general ; who lov'd him 
 In a most dezi particular. — Coriol., v. 1. 
 Of him that, his particular to foresee. 
 Smells from the general weal. — Timon, iv. 3. 
 
 Though in general part we were oppos'd, 
 Yet our old love made a particular force, 
 And made us speak like friends.' — Ibid., v. 3. 
 Shall in the general censure take corruption 
 From that particular fault. — Hamlet, i. 4. 
 
 Nor doth the general care 
 Take hold of me ; for my particular grief 
 Is of so flood-gate and o'erbearing nature.— OM., i. 3. 
 
 Shakespeare has some passages where there is an effect given of an 
 intended antithesis, but where there is no real antithesis existing : — 
 If you be not mad, be gone; if you have reason, be brief. — Tw, N., i. 5. 
 Are you not mad indeed ! or do you but counterfeit ? — Ibid., iv. 2. 
 But let him say so then, and let him go ; 
 But let him swear so, and he shall not stay. — W. T., i. z. 
 If I thought it were a piece of honesty to acquaint the king withal, I would not do't: 
 / hold it the more knavery to conceal it ; and therein am I constant to my profession. — 
 Ibid., iv. 3. 
 
 Then say at once ;// maintained the truth ; 
 Or else" was wrangling Somerset in error ? — i H. VI., ii. 4. 
 Speak, Prince of Ithaca ; and be '/ of less expect 
 That matter needless, of importless burden, 
 Divide thy lips than we arc confident, 
 When rank Thersitcs opes his mastiff jaws. 
 We shall hear music, wit, and oracle — Tr. &' Cr., i. 3. 
 TuUus Aufidius, is he within your walls ? — 
 No, nor a man that fears you less than he. 
 That's lesser than a little. — Coriol., i. 4. 
 Promise me friendship, but perform none : if thou wilt not promise, the gods plague 
 thee, for thou art a man ! if thou dost perform, confound thee, for thou art a man ! — 
 Timon, iv. 3. 
 
 If thou hadst not been born the worst of men. 
 Thou hadst been a knave and flatterer. — Ibid., iv. 3. 
 // I bring you no sufficient testimony that I have enjoyed the dearest bodily part of 
 
 * " Or else " is here used to express " or, in other words." 
 
APPRECIATION OF FRIENDSHIP : INTIMACY. 27 
 
 your mistress, my ten thousand ducats are yours ; so is your diamond too ; if I come 
 ojf, and leave her in such honour as you have trust in, she your jewel, this your jewel, 
 and my gold are yours. — Cym., i. 5. 
 
 If you can penetrate her with your fingering, so ; we 'II try with tongue too : if none 
 will do, let her remain ; but / 'II never give o'er. — Ibid., ii. 3. 
 
 If you will swear you have not done H, you lie ; 
 
 And I will kill thee, if thou dost deny. — Ibid., ii. 4. 
 
 In the following passage there is the real antithesis between " inn ' 
 (which originally meant an abode, or dwelling ; and here implies a 
 stately dwelling) and " alehouse" (as meaning a lowly house of enter- 
 tainment) : while, at the same time, there is the effect of antithesis 
 between " inn " (in its more usual and exclusive acceptation) and 
 " alehouse," as being both houses of wayside entertainment, though 
 superior in grade the one to the other : — 
 
 Thou map of honour, thou King Richard's tomb. 
 And not King Richard ; thou most beauteous inn. 
 Why should hard-favour'd grief be lodg'd in thee, 
 When triumph is become an alehouse guest. — R. II., v. i. 
 
 APPRECIATION OF FRIENDSHIP: INTIMACY. 
 
 The intensity of strength wherewith Shakespeare appreciated the 
 sentiment of friendship, the passionate fervour with which he depicts 
 its attachment and glorifies its object, as evidenced in various passages 
 in his plays, serve not only to denote his own warmth of nature and 
 might of heart, but also serve to illustrate many of the ardent expres- 
 sions that abound in his sonnets, — those veiled yet glowingly demon- 
 strative outpourings of his own affection. The diction of his time 
 permitted much more lavish utterance of feeling, the habits of his time 
 allowed much more marked and open token of preference, between 
 man and man, than the diction and habits of modem times permit ; 
 and when we read the following eloquently effusive passages, we 
 cannot but rejoice that William Shakespeare lived and wrote in an age 
 that gave scope to unrestricted words and behaviour from one man- 
 friend towards another. Thus passionately does he make Antonio, 
 the noble-hearted and romantic-spirited sea-captain, express himself 
 towards the youth for whom he has conceived a devoted personal 
 attachment after saving him from perishing at sea : — 
 
 If you will not murder me for my love, let me be your servant. . . . The gentleness 
 of all the gods go with thee ! ... I do adore thee so. — Tw. N., ii. 2. 
 
 I could not stay behind you : my desire. 
 
 More sharp than filed steel, did spur me forth ; 
 
 And not all love to see you (though so much 
 
 As might have drawn one to a longer voyage) 
 
 But jealousy what might befall your travel. 
 
 Being skilless in these parts ; which to a stranger, 
 
 Unguided and unfriended, often prove 
 
 Rough and unhospitable : my willing love. 
 
 The rather by these arguments of fear. 
 
 Set forth in your pursuit. . . . Hold, sir, here 's my purse. . . . 
 
 Haply your eye shall light upon some toy 
 
 You have desire to purchase ; and your store, 
 
 I think, is not for idle markets, sir. — Ibid., iii. 3. 
 
28 THE SHAKESPEARE KEY. 
 
 Is 't possible that my deserts to you 
 
 Can lack persuasion ? Do not tempt my misery, 
 
 Lest that it make me so unsound a man 
 
 As to upbraid you with those kindnesses 
 
 That I have done for you. . , . 
 
 Let me speak a little. This youth that you see here 
 
 I snatch'd one half out of the jaws of death ; 
 
 Relievd him with such sanctity of love, 
 
 And to his image, which methought did promise 
 
 Most venerable worth, did I devotion. . . . 
 
 But, O, how vile an idol proves this god ! 
 
 Thou hast, Sebastian, done good feature shame. 
 
 In nature there 's no blemish but the mind ; 
 
 None can be call'd deform'd but the unkind : 
 
 Virtue is beauty ; but the beauteous evil 
 
 Are empty trunks, o'erflourish'd by the devil ! — Ta. N., iii. 4. 
 
 A witchcraft drew me hither ; 
 That most ingrateful boy there, by your side. 
 From the rude sea's enrag'd and foamy mouth 
 Did I redeem ; a wreck past hope he was : 
 His life I gave him. and did thereto add 
 My love, without retention or restraint, 
 All his in dedication ; for his sake 
 Did I expose myself pure for his love. 
 Into the danger of this adverse town ; 
 Drew to defend him when he was beset. — Ibid., v. 1. 
 
 In reference to William Shakespeare himself might aptly be quoted 
 his own words, — " You have a noble and a true conceit of godlike 
 amity." Thus earnestly, with the simple yet firm manliness of truth 
 in an esteeming as well as loving attachment, does Hamlet speak to 
 his bosom friend Horatio : — 
 
 Since my dear soul was mistress of her choice. 
 
 And could of men distinguish, her election 
 
 Hath seal'd thee for herself: for thou hast been 
 
 As one, in suffering all, that suffers nothing ; 
 
 A man that fortune's buffets and rewards 
 
 Hast ta'en with equal thanks : and bless'd are those 
 
 Whose blood and judgment are so well co-mingled. 
 
 That they are not a pipe for Fortune's finger 
 
 To sound what stop she please. Give me that man 
 
 That is not passion's slave, and I will wear him 
 
 In my heart's core, ay, in my heart of heart, 
 
 As I do thee. — Hamlet, iii. 2. 
 
 The terms in which men-friends addressed each other were formerly 
 scarcely less fond and caressing than those employed between lovers: — 
 
 Cease to persuade, my loving Proteus. . . . 
 . . . Sweet Valentine, adieu ! 
 Think on thy Proteus, when thou haply see'st 
 Some rare noteworthy object in thy travel. . . . 
 S'ci'eet Proteus, no; now let us take our leave. — Ttvo G. of V .. i. 1. 
 
 One of his young court friends says to Bertram : — 
 
 O my sweet lord, that you will stay behind us! — AWs W., ii. 1. 
 
 And Parolles says to Bertram : — 
 
 What is the matter, sweet-heart ? . . . What, what, sweet-heart ? — Ibid., ii. 3. 
 
 And Poins says to Prince Hal : — 
 
 Now, my good sweet honey lord, ride with us. — i H. IV., i. 2. 
 
APPRECIATION OF FRIENDSHIP ^ INTIMACY. 29 
 
 Coriolanus says of Menenius : — 
 
 This man, Aufidius. 
 Was my belov'd in Rome. — Coriol., v. z. 
 And Antony says of the friendship entertained by Caesar for Brutus : — 
 For Brutus, as you know, was Caesar's angel : 
 Judge, oh, you gods, how dearly Caesar lov'd him ! — Jul. C, iii. 2. 
 And thus affectionate are the terms used by the friends and brothern- 
 in-la\v, when they are reconciled after their temporary heat of quarrel ;— 
 Cas. Hath Cassius liv'd 
 
 To be but mirth and laughter to his Brutus, 
 When grief, and blood ill-temper'd. vexeth him ? 
 Bru. When I spoke that, I was ill-temper'd too. 
 Cas. Do you confess so much ? Give me your hand. 
 Bru. And my heart too. 
 Cas. O Brutus ! 
 
 Bru. What 's the matter ? 
 
 Cas. Have not you love enongh to bear with me, 
 When that rash humour which my mother gave me 
 Makes me forgetful ? 
 
 Bru. Yes, Cassius ; and. from henceforth, 
 
 When you are over-earnest with your Brutus, 
 He '11 think your mother chides, and leave you so. — Ibid., iv. 3. 
 Not unfrequently the word "lover" was formerly used for "friend ": — 
 How true a gentleman you send relief, 
 How dear a lover of my lord, your husband, . . . 
 Which makes me think that this Antonio. 
 Being the bosom lover of my lord. — Mer. of V., iii. 4. 
 Farewell, my lord : I as your lover speak. — Tr. &• Cr., iii. 3. 
 Thy general is my lover. — Coriol., v. 2. 
 
 As I slew my best lover for the good of Rome. — Jul. C, iii. 2. 
 And " friend " was sometimes formerly used for " lover " : — 
 He hath got his friend with child. — M.for M., i. 5. 
 Lady, will you walk about with your friend. — M. Ado, ii. i. 
 Art thou gone so ? my lord, my love, my friend ! — R. &• Jul., iii. 5. 
 Or to be naked with' her friend abed an hour or more. — 0th., iv. i. 
 So she from Egypt drive her all-disgraced/nVwrf.' — Ant. &• C, iii. 10. 
 Though I profess myself her adorer, not [merely] her friend. . . . 
 You are a friend, and therein the wiser. — Cym., i. 5. 
 
 The demonstrations between men-friends were often formerly of ex- 
 treme tenderness, without being felt to impair manly dignity : and of this 
 kind are the indications of attachment between Antonio and Bassanio : — 
 I saw Bassanio and Antonio part : 
 Bassanio told him he would make some speed 
 Of his return : he answer'd, " Do not so ; 
 Slubber not business for my sake. Bassanio, 
 But stay the very riping of the time ; 
 And for the Jew's bond which he hath of me. 
 Let it not enter in your mind of love : 
 Be merry ; and employ your chiefest thoughts 
 To courtship, and stich fair ostents of love 
 As shall conveniently become you there:" 
 And even there, his eye being big with tears, 
 Turning his face, he put his hand behind him. 
 And with affection wondrous sensible. 
 He wrung Bassanio's hand ; and so they parted. — 
 I think, he only loves the world for him. — Mer. of V., ii. 8. 
 
30 THE SHAKESPEARE KEY. 
 
 Give me your hand, Sassanio ; fare you well ! 
 
 Grieve not that I am fallen to this for you ; . . . 
 
 Commend me to your honourable wife; 
 
 Tell her the process of Antonio's end; 
 
 Say how I loi'd you, speak me fair in death ; 
 
 And, when the tale is told, bid her be judge 
 
 Whether Bassanio had not once a love. 
 
 Repent not you that you shall lose your friend, 
 
 And he repents not thai he pays your debt ; 
 
 For, if the Jew do cut but deep enough, 
 
 I'll pay it instantly icitJi all my heart. — Mer. of V., iv, i. 
 
 And also this description of York and Suffolk, dying together on the 
 battle-field, while the describer, Exeter, and the hearer, King Harry V.. 
 are not afraid to own the manly tears they feel it forces from them: — 
 
 Suffolk first died: and York, all haggled over, 
 
 Comes to him, where in gore he lay insteep'd, 
 
 And takes him by the beard; hisses the gashes 
 
 That bloodily did yawn upon his face ; 
 
 And cries aloud. ■• Tarry, dear eonsin Suffolk ! 
 
 My soul shall I'l.inc keep eompany to heaven; 
 
 Tarry, sweet suul.for mine, thenjiy abreast; 
 
 As in this glorious and well-foughten field 
 
 W'e kept together in our chivalry ! " 
 
 Upon these words I came and cheer'd him up; 
 
 He smiled me in the face, raught me his hand. 
 
 And, with a feeble gripe, says, " Dear my lord, 
 
 Commend my service to my sovereign." 
 
 So did he turn, and over Suffolk's neek 
 
 He threw his 'ii'ounded arm and kiss'd Iiis lips; 
 
 And so, espous'd to death, with blood he seal'd 
 
 A testament of noble-ending love. 
 
 The pretty and su-eet manner of it fore' d 
 
 Those waters from me, which I would have stopp'd ; 
 
 But I had not so much of man in ;ne. 
 
 And all my mother came into mine eyes. 
 
 And gave me ::p to tears. — 
 
 / blame you not ; 
 For. hearing this. I must perforce compound 
 With mistful eyes, or they will issue too. — H. V., iv. 6. 
 
 That the usage existed in England in Shakespeare's time — as it still 
 exists on the Continent — of men embracing each other when they meet 
 or take leave, we have many indications in his contemporarj'- writers as 
 well as in his own writings. 
 
 The martial Coriolanus says to his fellow-general, Cominius : — 
 
 0, let me clip you 
 In arms as sound as when I woo'd. — CorioL, i. 6. 
 
 And the warlike Aufidius. rejoicing to find his old opponent Corio- 
 lanus under his roof at Antium, exclaims : — 
 
 Let me twine 
 Mine arms about that body, where against 
 My grained ash a hundred times hath broke. 
 And scar'd the moon with splinters; here I clip 
 The anvil of my sword. — Ibid., iv. 5. 
 
 Biron, on discovering that he, the king, and the two companion 
 noblemen, are all in love, cries joyfully : — 
 
 Sweet lords, sweet lovers, 0, let us embrace ! — Love's L. L., iv. 3. 
 
BEAST AND MAN. 3^ 
 
 Petruchio, meeting on the road the father of his brother-in-law, thus 
 salutes the gentleman : — 
 
 Let me embrace with old Vincentio. — Tam. of S., iv. 5. 
 And Mark Antony, taking leave of Octavius Ctesar, says: — 
 
 Come. sir. come; 
 I 'II wrestle ivith you in my strength of love : 
 Look, here I have you ; thus I let yon go, 
 And give you to the gods. — Ant. &• C, iii. 2. 
 
 As a token of the extreme intimacy and familiarity of intercourse 
 that subsisted formerly between men-friends, we find denotement that 
 they often occupied the same bed-room, and even the same bed 
 together. 
 
 Exeter, speaking indignantly of Lord Scroop's treason towards the 
 king, says : — 
 
 Nay, but the man that was his bedfclloii',' 
 
 Whom he hath dull'd and cloy'd with gracious favours — 
 
 That he should, for a foreign purse, so sell 
 
 His sovereign's life to death and treachery ! — H. V., ii. 2. 
 
 Owing to this custom, the term became used to express close 
 intimacy and affectionate companionship : — 
 
 He loves your people ; 
 But tie him not to be their bedfclloii.-. — CorioL, ii. 2. 
 
 And the following passage again serves to show how common was 
 the custom : — 
 
 Oh, world, thy slippery turns ! Friends now fast sworn, 
 Whose double bosoms seem to wear one heart. 
 Whose hours, whose bed, whose meal, and exercise, 
 Are still together, who twin, as 'twere, in love 
 Unseparable, shall within this hour. 
 On a dissension of a doit, break out 
 To bitterest enmity. — Ibid., iv. 4. 
 
 Finally, lago says: — 
 
 / lay with Cassio lately ; 
 
 And, being troubled with a raging tooth, 
 
 I could not sleep. 
 
 There are a kind of men so loose of soul. 
 
 That in their sleeps will mutter their affairs 
 
 One of this kind is Cassio: 
 
 In sleep I heard him say, &•€., — 0th., iii. 3. 
 
 BEAST AND MAX. 
 
 Shakespeare frequently uses "beast" and "man'' in contra- 
 distinction each to each — the one as the tj-pe of inhumanity, the other 
 of humanity — or the one as representing unintelligence, the other 
 intelligence ; and his practice in this respect serves to show that the 
 original is the right reading in the disputed instance of the passage 
 
 * Holinshed records this circumstance : " The said Lord Scroop was in such favour 
 with the king that he admitted him sometime to be his bedfellow." 
 
32 THE SHAKESPEARE KEY. 
 
 from " Macbeth," which we have cited among the rest to show how it 
 is but one of many parallel cases occurring in his works : — • 
 
 powerful love ! that, in some respects, makes a beast a man ; in some other, a man 
 a. beast. — Merry W., v. 5. 
 
 When he is best, he is little worse than a man ; and when he is worst, he is little 
 better than a beast. — Mcr. of V., i. 2. 
 
 I think he be transformed into a beast ; 
 
 For I can no where find him like a man. — As Yoii L., ii. 7. 
 
 Whiles the eye of man did woo me. 
 That could do no vengeance to me. 
 Meaning me a beast. — Ibid., iv. 3, 
 
 A king of beasts, indeed ; if aught but beasts. 
 
 I had been still a happy king of men. — R. II., v. 1. 
 
 What, ho ! you men. you beasts. — R. &• jul., i. i. 
 
 Art thou a man ? thv form cries out thou art. 
 
 Thy tears are womanish ; thy wild acts denote 
 
 The unreasonable fury of a beast ; 
 
 Unseemly woman in a seeming man ! 
 
 Or ill-beseeming beast in seeming both. — Ibid., iii. 3. 
 
 Timon will to the woods ; where he shall find 
 
 Th' unkindest beast more kinder than mankind. — Timon, iv. i. 
 
 A beast, as thou art. The canker gnaw thy heart. 
 
 For showing me again the eyes of man ! — Ibid., iv. 3. 
 
 What wouldst thou do with the world. Apemantus, if it lay in thy power ? — 
 Give it the beasts, to be rid of the men. — 
 
 Wouldst thou have thyself fall in the confusion of men, and remain a beast with 
 the beasts ? — Ibid., iv. 3. 
 
 O, thou touch of hearts ! 
 Think, thy slave man rebels ; and by thy virtue 
 Set them into confounding odds, that beasts 
 May have the world in empire ! — Ibid., iv. 3. 
 
 We cannot live on grass, on berries, water. 
 
 As beasts, and birds, and fishes. — 
 
 Nor on the beasts themselves, the birds, and fishes; 
 
 You must eat men. — Ibid., iv. 3. 
 
 Timon is dead. Who hath outstretch'd his span — 
 Some beast — read this ; there does not live a man. 
 
 Ibid., V. 4 [Inscription). 
 
 0, judgment, thou art fied to brutish beasts. 
 And men have lost their reason 1 — Jul. C, iii. 2. 
 
 I dare do all that may become a man; 
 Who dares do more is none. — 
 
 What beast was't, then. 
 That made you break this enterprise to me ? 
 When you durst do it, then you were a man; 
 And, to be more than what you were, you would 
 Be so much more the man. — Macb., i. 7. 
 
 What is a man, 
 If his chief good and market of his time 
 Be but to sleep and feed ? a beast, no more. — Hamlet, W. 4. 
 
 While I may 'scape, 
 I will preserve myself: and am bethought 
 To take the basest and most poorest shape, 
 That ever penury, in contempt of man, 
 Brought near to beast. — Lear, ii. 3. 
 
BITTER PUNS AND PLAYS ON WORDS: CONCEITS. 33 
 
 Allow not nature more than nature needs, 
 Man's life is cheap as beast's. — Ibid., ii. 4. 
 Would you would bear your fortune like a man ! — 
 A horned man's a monster and a beast. — 
 There's many a beast, then, in a populous city, 
 And many a civil monster. — 
 Did he confess it? — • 
 
 Good sir, be a man. — Oth., iv. i. 
 Kingdoms are clay ; our dungy earth alike 
 Feeds beast as man. — Ant. &• C, i. 1. 
 
 Shakespeare puts the word " beast " into a woman's mouth as a 
 term of strongest reprobation for unmanliness and tmnaturalness : — 
 
 Sweet sister, let me live : 
 , What sin you do to save a brother's life, 
 Nature dispenses with the deed so far 
 That it becomes a virtue. — 
 
 O, you beast I 
 0, faithless cmvard! O, dishonest wretch! 
 Wilt thou be made a man out of my vice ? — M.for M., iii. i. 
 
 And into another woman's mouth to express ' a creature devoid of 
 natural feeling,' ' an inhuman monster ' : — 
 
 0, what a beast was I to chide at him ! — R, &• Jul., iii. 2. 
 
 BITTER PUNS AND PLAYS ON WORDS : CONCEITS. 
 
 With his marvellous insight into the hidden springs of human passion 
 as well as its effusive vents, the sources of emotion as well as its external 
 signs, Shakespeare could hardly fail of denoting — among other fantastic 
 shapes that human feeling takes — the proneness of some natures in mo- 
 ments of acute mental suffering to seek relief from the utterance of 
 some bitter jest or whimsical quibble. He has a passage that directly 
 draws attention to this practice. When the dying John of Gaunt, 
 desperately grieving at his nephew King Richard's blindlv pursued 
 downward course, makes punning illustrations in reference to his own 
 name, " Gaunt," the king exclaims, " Can sick men play so nicely 
 with their names ? " And Gaunt replies, " No, misery makes sport to 
 mock itself." (" Richard II.," act ii., sc. i.) And on reference to this 
 scene, a long string of instances will be found in addition to the following, 
 which serve to show Shakespeare's sagacity in knowing as well as 
 indicating this phase of passionate expression : — 
 
 For life, I prize it 
 As I weigh grief, which I would spare : for honour, 
 'Tis a derivative from me to mine; 
 And only that I stand for. — W. T., iii. 2. 
 
 This is said by Hermione, a woman of strong self-control ; and she 
 uses the word "spare" with concentratedly witty felicitv of varied 
 significance, partly in its sense of ' part with,' ' do without,' ' let 
 go,' partly in that of ' forbear from destroying,' or ' shield from 
 destruction,' and partly in that of ' avoid encountering ; ' so that her 
 sentence tersely implies, ' I estimate life as I estimate grief — thino-s 
 
 D 
 
34 THE SHAKESPEARE KEY. 
 
 that I could willingly part with, while the one I would avoid destroying 
 
 and the other I would avoid encountering.' 
 
 You have beguil'd me with a counterfeit 
 Resembling majesty, which, bemg touch'd and tried. 
 Proves valueless. — yohn, iii. i. 
 
 It is the impetuous-natured Constance who says this ; using the word 
 ■' counterfeit " in both the senses which it formerly bore of a 'portrait' 
 and a 'false coin,' and thus flinging a double scoff at the king who has 
 failed in his promise to her. 
 
 Oh, lawful let it be 
 That I have room with Rome to curse awhile ! — Ibid., iii. i. 
 
 Again, it is the vehement Constance who avails herself of the mode 
 in which " Rome " was sometimes pronounced, to give vent to a 
 contemptuous utterance of her stung feeling. 
 
 My sovereign lord, bestow yourself with speed : 
 
 The French are bravely in their battles set. 
 
 And will with all expedience charge on us. — H. V., iv. 3. 
 
 Here it is Salisbury, one of the English warriors in the desperate 
 condition of small numbers reduced by hard fighting and famine 
 against a fresh and numerous force, who by using the word " bravely " 
 indulges in a fleer at the ' bravingly boastful and defiant ' enemy 
 as well as at their ' showily arranged, smartly set forth ' ranks. 
 
 For Suffolk's duke, may he be suffocate. 
 That dims the honour of this warlike isle ! — 2 H. VI., i. i. 
 Richard Plantagenet, Duke of York, in his wrath at Suffolk's betrayal 
 of England's glory, utters this taunting pun. 
 
 Foul wrinkled witch, what mak'st thou in my sight ? — 
 
 But repetition of what thou hast marr'd ; 
 
 That will I make before I let thee go. — R. III., i. 3. 
 
 Gloster uses the word " mak'st " in the sense of ' dost ' ; but 
 Margaret replies to it in its sense of ' achiev'st,' as used in juxta- 
 position with " marr'd " : her keen sense of wrong goading her into this 
 sharpness of expression. 
 
 My lord, my lord, 
 
 I am a simple woman, much too weak 
 
 To oppose your cunning. You're meek and humble-mouth'd ; 
 
 You sign your place and calling, in full seeming. 
 
 With meekness and humility ; but your heart 
 
 Is cramm'd with arrogancy, spleen, and pride. 
 
 You have by fortune and his highness' favours. 
 
 Gone slightly o'er low steps, and now are mounted 
 
 Where powers are your retainers ; and your words. 
 
 Domestics to you, serve your will as 't please 
 
 Yourself pronounce their office. — H. VIII., ii. 4. 
 
 It is the high-spirited and noble-hearted Queen Katharine, who pours 
 forth this outspoken denouncement of the all-powerful Wolsey ; and 
 she uses two words therein with a double meaning, — " powers " in the 
 duplicate sense of powerful ' persons' and ' powers of intellect ' — and 
 " words " in the duplicate sense of ' commands ' and ' speech.' She 
 tells him that by his own good fortune and the king's favours he has 
 passed easily over the first steps from his original low position, and is 
 now mounted to a height where potentates are at his disposal and 
 
BITTER PUNS AND PLAYS ON WORDS: CONCEITS. 35 
 
 direction, and where the powers of his own intellect are employed to 
 promote his influence ; and his commands, as mere servitors, suffice to 
 insure obedience to his will in whatever he desires to effect, while his 
 speech serves his purpose by assuming whatever appearance of justice, 
 truth, and candour he chooses to feign. We the rather repeat our in- 
 terpretation of the double meaning here borne by these two words, 
 because they have been challenged as incorrect by other commen- 
 tators. 
 
 The more shame for ye ! holy men I thought ye, 
 
 Upon my soul, two reverend cardinal virtues ; 
 
 But cardinal sins and hollow hearts I fear ye. — H. VIII., iii. i. 
 
 It is again Queen Katharine who, addressing the two Cardinals, 
 Wolsey and Campeius, thus plays upon the word " cardinal " in its 
 sense of ' chief and as used for their own ecclesiastical title. 
 
 Oh, my lord, 
 
 Press not a falling man too far ! 'tis virtue : 
 
 His faults lie open to the laws ; let them. 
 
 Not you, correct him. My heart weeps to see him 
 
 So little of his great self. . . . 
 
 So fare you well, my little good lord cardinal. — 
 
 So farewell to the little good you bear me. 
 
 Farewell, a long farewell, to all my greatness ! — Ibid., iii. 2. 
 
 Norfolk's parting sneer comprises the double meaning of ' my good 
 lord cardinal possessed of so little goodness,' and ' my good lord 
 cardinal looking so little in this hour of exposure.' It is used in refer- 
 ence to the Chamberlain's compassionate words, " my heart weeps to 
 see him so little of his great self" ; and Wolsey uses the words " little 
 good " in rejoinder to signify ' small amount of good-will.' The imme- 
 diate sequence of the word " greatness " in Wolsey's speech serves to 
 show the link that is maintained between the Chamberlain's expression, 
 Norfolk's sneer, and the Cardinal's reply. This kind of play upon 
 words, marking Shakespeare's style even in some of his gravest scenes, 
 is perfectly consistent with nature ; especially in a case like the present, 
 where men of intellect are dealing in sarcasm and sarcastic retort. 
 These times of woe afford no time to woo. — R. &• jful., iii. 4. 
 
 Paris, addressing Lord and Lady Capulet when mourning for their 
 kinsman Tybalt, yet applying to them for the hand of their daughter, 
 Juliet, permits himself thus much of sportiveness in phraseology. 
 
 Some say the lark makes sweet division ; 
 
 This doth not so, for she divideth us. — Ibid., iii. 5. 
 
 Here the grief of Juliet, even in the hour of parting with her new- 
 made husband, takes the wayward course of quibbling on the word 
 " division " in its double sense of brilliant sequences of notes sung by 
 a bird, and of ' separation.' Such are the tricks played by the imagi- 
 nation, even at moments when the heart is most sorely tried ; and 
 being such, Shakespeare so denotes them. 
 
 Noting this penury, to myself I said. 
 
 An if a man did need a poison now. 
 
 Whose sale is present death in Mantua, 
 
 Here lives a caitiff wretch would sell it him. 
 
 Oh, this same thought did but forerun my need : 
 
 And this same needy. rasin must sell it me. — Ibid., v. 1. 
 
 D 2 
 
36 THE SHAKESPEARE KEY. 
 
 Romeo's inner thought being absorbed by the one image of his 
 Juliet's death, his surface thought of obtaining the poison which will 
 enable him to rejoin her takes the most capricious form of expression ; 
 not only playing on the words " need " and " needy," but dallying with 
 verbal repetitions, in " sell it him," " sell it me," " this same thought," 
 and " this same man." Precisely the mode in which the process of 
 surface-thought plays in fluctuating waves of vagary over the one deep 
 unmoving torturing thought. 
 
 All our bills. — 
 
 Knock me down with 'em ; cleave me to the girdle. — Timon, iii. 4. 
 
 In the wrath of seeing the men all pressing upon him with their 
 written demands, Timon grimly plays upon the word " bills," in its 
 sense of weapons. 
 
 No place will please me so, no mean of death, 
 
 As here by Caesar, and by you cut oiT. — ^ul. C., iii. i. 
 
 Antony, in the mingled grief and indignation of seeing Caesar lying 
 there murdered, takes a kind of scornful pleasure in thus quibbling 
 upon the word " by " ; first in its sense of ' by the side of or ' beside' ; 
 and sec6ndly in its sense of ' by your means,' or ' through you.' 
 
 Pardon me, Julius ! Here wast thou bay'd, brave hart ; 
 
 Here didst thou fall ; and here thy hunters stand, 
 
 Sign'd in thy spoil, and crimson'd in thy lethe. 
 
 O world, thou wast the forest to this hart ; 
 
 And this, indeed, O world, the heart of thee. 
 
 How like a deer, stricken by many princes. 
 
 Dost thou here lie ! — Ibid,, iii, 1. 
 
 Here Antony, still in the mood for taking refuge in conceits and 
 plays upon words from the sting of his suppressed indignation against 
 Cassar's assassins, lets his fancy run riot in a figurative image that shall 
 aggrandise his dead friend to the utmost. And yet Coleridge has 
 denounced the two lines in this passage commencing " world," 
 &c., affirming them to be an interpolation; while another critic has 
 pronounced them to be a " a foul blemish " ! 
 
 No eyes in your head, nor no money in your purse ? Your eyes are in a heavy case, 
 your purse in a light : yet you see how this world goes. — I see it feelingly. — Lear, iv. 5. 
 
 Gloster's attempt to reply, in a mood of quibbling correspondent with 
 Lear's, is intensely pathetic ; and hardly a stronger instance than the 
 present could be cited of the affecting power with which bitter puns and 
 conceits may be introduced by a true poet into the most serious and 
 even tragic scenes. 
 
 No, my heart is turned to stone ; I strike it, and it hurts my hand. — 0th., iv. i. 
 
 This wilfulness of an imagination writhing in anguish, and twisting 
 itself into contortions of figurative speech, seems to us deeply moving ; 
 and yet it provokes Mr. Steevens to remark that by it Shakespeare 
 " counteracts his pathos" (!) 
 
 Do not talk to me, Emilia ; 
 I cannot weep ; nor answer have I none. 
 But what should go by water. — Ibid., iv. j.. 
 
 Desdemona stunned and bewildered, her eyes dry and tearless, from 
 the effect of her husband's cruel usage and mysterious reproaches, can 
 
BITTER PUNS AND PLAYS ON WORDS: CONCEITS. 37 
 
 only try, with quivering lips and an attempted smile, to rouse herself 
 from her stupor of grief; and the exact effect of this is conveyed by the 
 dramatist's introduction of this slight play on the word here. 
 
 Be witness to me, thou blessed moon ! 
 
 When men revolted shall upon record 
 
 Bear hateful memory, poor Enobarbus did 
 
 Before thy face repent. . . . 
 
 O sovereign mistress of true melancholy ! 
 
 The poisonous damp of night dispunge upon me. 
 
 That life, a very rebel to my will, 
 
 May hang no longer on me ; throw my heart 
 
 Against the flint and hardness of my fault ; 
 
 Which, being dried with grief, will break to powder, 
 
 And finish all foul thoughts. — Ant. &• C, iv. 9. 
 
 Only on the principle that different natures are affected differently by 
 the same causes, can be explained the reason why this passage — which 
 occasions Dr. Johnson to resent what he calls "the intrusion of a conceit 
 so far-fetched and unatlecting" — strikes us as being profoundly affecting 
 and true to nature ; the anguish of the speaker's remorse goading him 
 into the very necessity for his imagination to take refuge in forms of 
 fantastic figurativeness. 
 
 But, come, come, Antony, 
 Help me, my women — we must draw thee up ; 
 Assist good friends. — 
 
 Oh, quick, or I am gone. — 
 Here 'i sport, indeed ! How heavy weighs my lord ! 
 Our strength is all gone into heaviness. 
 That makes the weight : had I great ]\mo''s power. 
 The strong-wing' d Mercury should /«fcA thee up, 
 And set thee by Jove's side. — Ibid., iv. 13. 
 
 Though the whole passage bears token that Cleopatra is in that 
 bitter mood of mind which prompts her to turn cruel earnest into mocking 
 pastime, yet several emendators have proposed other words instead of 
 " sport " here, which, we think, is manifestly correct. 
 
 And so, great powers. 
 If you will take this audit, take this life. 
 And cancel these cold bonds. — Cym., v. 4. 
 
 Dr. Johnson observes, that " this equivocal use of ' bonds ' is another 
 instance of our author's infelicity in pathetic speeches" (!); but, to our 
 mind, it is in precise keeping with the whole tenor of Posthumus's 
 passionately repentant speech — emotional, mournful, and highly 
 imaginative in its lonely self-communing. 
 
 Into one of his most serious scenes our prince of dramatists has 
 introduced a slight and very familiar touch, with extremely natural 
 effect, turning it to excellent account as a means of stirring a father's 
 heart, agitating it with wild thoughts, and prompting fierce plays on 
 words and bitter puns. No one but a poet like Shakespeare would 
 have ventured upon using such means as a passing black, a flying 
 particle of smut resting upon a child's nose, for such a purpose, it 
 would have been deemed beneath the dignity of tragedy by any but, 
 
38 THE SHAKESPEARE KEY. 
 
 the fearless delineator of nature in all her varied phases of tragic event 
 and feeling : — 
 
 What, hast svmtch'd thy nose ? 
 
 They say, it is a copy out of mine. Come, captain, 
 
 We must be neat ; not 7teat, but cleanly, captain : 
 
 And yet the steer, the heifer, and the calf, 
 
 Are all call'd neat.—W. T., i. 2. 
 
 And into one of his most deeply tragic scenes he has introduced a 
 homely touch, inexpressibly affecting and significant. It not only 
 serves to show the swelling and heaving of the heart that gives the dying 
 man a sense of intolerable oppression [See Physical Indications] ; 
 but it also serves to indicate the native courtesy of the old king, and 
 the gentleness of speech that has at length succeeded to his former 
 vehemence and violence when insane. It aids in reconciling us to his 
 death, as the peaceful end to so much unrest and distraction : — 
 
 Thou 'It come no more. 
 Never, never, never, never, never ! 
 Pray you, undo this button: thank you, sir. — Lear, v. 3. 
 
 CANT TERMS. 
 
 In Shakespeare's works we find some of the cant terms and thieves' 
 jargon that were in use at the time he wrote ; and it will be perceived 
 that a few of them have still survived in modern slang : — 
 
 At last I spied an ancient angel [' a good old soul,' ' a worthy old chap ' ; a ' fellow 
 easily to be cajoled'] coming down the hill, will serve the turn. — Tatn. of S., iv. 2. 
 
 The wisest aunt ['good old dame,' 'worthy old woman'], telling the saddest tale, 
 sometime for three-foot stool mistaketh me. — ilid. A'. D., ii. i. 
 
 Are summer songs for me and my aunts ['wanton women']. — W. T., iv. 2 {Song). 
 
 We knew where the bona-robas [' good-looking- bad women '] were, and had the best 
 of them at commandment. . . . She was then a bona-roba. — 2 H. IV., iii. 2. 
 
 You filthy bung [a cant term for a ' purse ' and for a ' pocket ' ; but, by using it as a 
 nick-name for Pistol, Doll not only calls him a pickpocket, but insinuates that he is 
 saturated with the fumes of the beer-barrel], away ! — Ibid., ii. 4. 
 
 I knew by that piece of service, the men would carry coals [' put up with insults,' 
 ' endure indignities,' ' submit tamely to affronts.']. — H. V., iii. 2. 
 
 Gregory, 0' my word, we '11 not carry coals. — R. &• jful., i. 1. 
 
 Ye shall have a hempen caudle ['death by the rope,' or 'hanging'] then, and the 
 help of hatchet [this is Shakespeare's variation of an old slang phrase, ' pap with a 
 hatchet,' which signified 'the stroke of the headsman'saxe']. [See Passages where an 
 Original Word is Introduced into a Usual Form of Phrase.] — 2 H. VI., iv. 7. 
 
 Could I come near your beauty with my nails, 
 
 I 'd set my ten commandments [' fingers,' ' hands '] in your ia.ce.— Ibid., i. 3. 
 
 There is no remedy, I must coney-catch [' cheat,' ' practise sharping '] ; I must shift. 
 — Merry W., i. 3. 
 
 Take heed, Signior Baptista, lest you be coney-catched [' cheated '] in this business. — 
 Tarn, of S., v. i. 
 
 And against your cortey -catching [' cheating'] rascals. — Merry. W., i. i. 
 
 Come, you are so full oi coney-catching [' tricking waggery,' 'jocular deception']. — 
 Tarn, of S., iv. i. 
 
CANT TERMS. 39 
 
 "Convey" ['steal,' 'filch,' 'pilfer,' 'purloin,' 'rob'], the wise it call. "Steal!" 
 foh ! a fico for the phrase l^Merry W., i. 3. 
 
 Since Henry's death, I fear, there is conveyance [' fraudulent dealing,' ' knavery,' 
 ' sly and tricking practice-']. — i H. VI., i. 3. 
 
 Would we could see you at Corinth [' our brothel,' ' our house of free-living.' 
 See " Corinthian," subsequently cited and explained] . — Tinwn, ii. 2. 
 
 O, nuncle, court holy-water ['flattering protestations,' 'favouring phrases'] in a 
 dry house is better than this rain-water out 0' door. — Lear, iii. 2. 
 
 I think thee now some common customer [' bad woman,' ' a woman who infamously 
 trades on her beauty'] — All's W., v. 3. 
 
 I marry her! what.' a. customer! — 0th., iv. i. 
 
 I'll thrust my knife in your mouldy chaps, an you play the saucy cuttle [' the knife 
 used by thieves and cutpurses'] with me. — 2 H. IV., ii. 4. 
 
 He, sir, that takes pity on decayed men, and gives them suits of durance [' captivity,' 
 ' imprisonment']. — Com. of E., iv. 3, 
 
 Is not a buff jerkin a most sweet robe of durance.' — i H. IV., i. ^. 
 
 They call drinking deep, dying scarlet, — Ibid., ii. 4. 
 
 I will retort the sum in equipage ['stolen goods ']. — Merry W., ii. 2. 
 
 And, being fap [' maudlin drunk'], sir, was, as they say, cashier'd [' turned out ' — 
 his pockets, and then himself]. — Ibid., i. i. 
 
 lam joined with no foot land-rakers ['footpads,' 'those who rob on foot']. — 
 I H. IV., ii. I. 
 
 Thou diest on point of fox ['sword:' originating in the circumstance that Andrea 
 Ferrara, and other foreign sword-cutjers, adopted a fox as the blade-mark of their 
 weapons]. — H. V., iv. 4. 
 
 He woos both high and low, both rich and poor, 
 
 Both young and old, one with another. Ford : 
 
 He loves the g-a//;/-i«anj/>7 [' heterogeneous collection,' 'hotch-potch,' 'medley']. — 
 Merry W., ii. i. 
 
 And they have a dance which the wenches say is a gally-matvfry of gambols, 
 because they are not in 't. — VV. T., iv. 3, 
 
 She 's impudent, my lord ; 
 And was a common gamester [' wanton woman '] to the camp. — All's W., v. 3. 
 ■Were you a gamester at five, or at seven ? — Per., iv. 6. 
 He is drunk now : where had he wine ? 
 And Trinculo is reeling ripe : where should they 
 Find this grand liquor that hath gilded 
 [' intoxicated : ' besides implying by this cant term for being drank that they are in 
 liquor, " gilded " here includes allusion to being enriched by the alchemist's elixir 
 (which was a preparation of gold), as a fleer at their having become yellowed over by 
 the " filthy mantled pool " through which they have been led by Ariel] 
 
 them.? — Temp., v. i. 
 
 Nay, I can gleek ['gibe,' 'jeer:' in modem slang, 'chaff.' The expression 
 originated in the name for a game of cards, called " gleek : " in which game " a gleek " 
 was the term for a set of three particular cards ; " to gleek," for gaining an advantage 
 over ; and " to be gleeked," for being tricked, cheated, duped, or befooled. Hence, the 
 words " gleek," and " gleeking " became used, for being tauntingly or hectoringly 
 jocose] upon occasion. — Mid. N. D., iii. i. 
 
 ■What will you give us ? — No money, on my faith, but the gleek ; I will give you 
 the minstrel. — R. S' jful., iv. 5. 
 
 I have seen you glefking and galling at this gentleman twice or thrice. — H. V., v. i. 
 
 Now where 's the Bastard's braves, and Charles his gleeks ? — i H. VI., iii. is. 
 
 Let vultures gripe thy guts ! for gourd and fullam holds, 
 
 And high and low [' false dice '] beguile the rich and poor. — Merry W., i. 3. 
 
 Ere I would say, I would drown myself for the love of a guinea-hen [' a woman 
 who may be bought for money'], I would change my humanity with a baboon. — 
 0th., i. 3. 
 
40 THE SHAKESPEARE KEY. 
 
 What comfortable hour canst thou name, 
 That ever gracd me in thy company ? 
 Faith, none, but Humphrey hour 
 [' hungry hour : ' we believe this to have been a cant term, arising out of the pro- 
 verbial phrase, " to dine with Duke Humphrey " ; which originated in the circumstance 
 that one of the aisles in the ancient cathedral of St. Paul's was called Duke Humphrey's 
 Walk, where those who had no means of procuring a dinner used to loiter, as if busi- 
 ness, and not the passing away their hour for hunger, brought them there], 
 
 that call'd 
 Your grace to breakfast once forth of my company. — R. III., iv. 4. 
 
 ?>oxac jay ['courtesan: ' it is noteworthy that the Italian word for the bird of this 
 name and for a hireling woman is the same — ' putta'} of Italy, whose mother was. — 
 Cym., iii. 4. 
 
 We'll teach him to know turtles from jays. — Merry W., iii. 3. 
 
 He wears his honour in a box unseen, 
 
 That hugs his kicky-wicky [' unruly jade: ' employed by the coarse Parolles as a 
 synonyme for ' wife'] here at home. — AlVs W., ii. 3. 
 
 I, a lost mutton [' scapegrace fellow,' ' a stray sheep from the fold of righteous- 
 ness'], gave your letter to her. a laced mutton ['dizened courtesan'], and she, a 
 laced mutton, gave me, a lost mutton, nothing for my labour. — Two G. of V., i. i. 
 
 Is he so young a man, and so old a lifter} ['thief; and 'shop-hfter' is still a 
 term in use for one who steals goods from shop-counters]. — Tr. &• Cr., i. 2. 
 
 No, he 'sin Tartar limbo [' prison,' 'confinement,'] worse than hell. — Com.of E.,iv.2. 
 
 I have some of 'em in Limbo Patrum [' prison,' ' confinement ' : the term origi- 
 nating in Limbus Patrum, the place where the fathers and patriarchs were supposed 
 to await the resurrection], and there they are like to dance these three days. — 
 H. VIII., V. 3. 
 
 None of these mad mustachio purple-hued malt-worms [' ale-topers ; ' fellows who 
 dip their mustachios so deeply and perpetually in liquor as to stain them purple-red]. — 
 I H. IV., ii. I. 
 
 His face is Lucifer's privy-kitchen, where he doth nothing but roast malt-worms 
 ['beer-drinkers']. — 2 H. TV., ii. 4. 
 
 I think I am as like to ride the mare [' come to the gallows ' ; the two-legged or 
 three-legged mare being a slang name for the gallows]. — Ibid., ii. i. 
 
 I will say " marry trap " [' catch who catch can,' ' by Mary, catch me if you can '] 
 with you. — Merry W., i. i. 
 
 I come to her in white, and cry "Mum"; she cries, "Budget" : and by that we 
 know one another. — That's good too: but what needs either your "Afwrn" or hev 
 " Budget " ? [A cant signal and counter-signal, implying silence and secret intelli- 
 gence in use among thieves]. — Ibid., v. ii. 
 
 I went to her in white, and cried " Mum," and she cried "-Budget," as Anne and I 
 had appointed, — Ibid., v. 5. 
 
 If you run the nut-hook's ['bailiff' ; a hooker of thieves] humour on me. — Ibid., i. i. 
 
 Nut-hook, nut-hook, you lie. Come on. — 2 H. IV. r v. 4. 
 
 As the honey of Hybla, my old lad of the castle [' roaring boy,' ' roysterer ' ; and 
 Prince Hal applies this term to his boon companion, the fat knight, in reference to the 
 name of " Oldcastle," which Shakespeare originally gave to the character of Sir John 
 Falstaff].— I H. IV., i. -z. 
 
 Let senses rule ; the word is, " Pitch and pay " [' pay on delivery, ' pay down at 
 once'] ; trust none. — H. V., ii. 3. 
 
 When you breathe in your watering, they cry " Hem ! " and bid you play it off 
 [' toss off your drink at a draught']. — i H. IV., ii. 4. 
 
 If a crow help us in, sirrah, we Ml pluck a crow together [' have a squabbling-bout,' 
 ' a set-to,' ' a quarrel ']. — Com. of E., iii. i. 
 
 Out upon him ! Prig, for my life, ^ng- [' thief']. — W. T., iv. 2. 
 
 The white sheet bleaching on the hedge, .... 
 
 Doth set my pugging [' prigging,' ' thieving,'] tooth on edge. — Ibid., iv. 2 (Song). 
 
CANT TERMS. 41 
 
 Thou shalt have a share in our purchase [' booty,' ' plunder,' ' stolen goods,'] as I am 
 a true man. — i H. IV., ii. i. 
 
 They will steal anything, and call \t purchase. — H. V., iii. .:. 
 
 Here 's Agamemnon, — an honest fellow enough, and one that loves quails [' common 
 women ' : but though allusion may be made to this sense of the word, as a cant term, 
 in the present passage, we believe, that "loves quails '' may be used to express 'is fond 
 of quail-fighting,' ' is fond of gambling with quails,' in reference to the ancient practice 
 of matching quails against one another, as cocks were more modernly matched ; to 
 which practice Shakespeare alludes in a passage in "Antony and Cleopatra," ii. 3J. — 
 Tr. &■ Cr., V. i. 
 
 What says my bully-rooA [' rogue,' ' swindler,' ' sharper '] ? — Merry W., i. 3. 
 
 How now, bully-rooA ! . . . tell him, hvXXy-rook. . . . What sayest thou, my 
 huWy-rook .^ — Ibid., ii. 1. 
 
 What saucy merchant was this, that was so full of his rofcry ? [' roguery," 
 ' ribaldry,' ' impudent banter,' ' abusive joking ' : the expression originated in the 
 facetious custom of teaching parrots to make allusion to "a rope" (or hanging), as 
 the probable end of those who addressed them]. — R. & Jul., ii. 4. 
 
 An he begin once, he '11 rail in his rope-tricks [besides the above meaning, " rope- 
 tricks" is here intended (from its slight similarity in sound) to include the eifect 
 of " rhetorics "]. — Tarn, of S., i. z. 
 
 Sirrah, if they meet not with Saint Nicholas' clerks [' thieves,' ' robbers,' 
 ' pickpockets ' : Saint Nicholas being the patron saint of children and scholars. 
 he was said to be tutelary to another race of clever fellows and dexterous gentry], 
 I'll give thee this neck. — i H. IV., ii. i. 
 
 Now shall we know if Gadshill have set a match [' planned a robbery ']. — Ibid., i. 2. 
 
 Wouldst thou not be glad to have the niggardly rascally sheep-biter ['paltry 
 thief] come by some notable shame? — Tw. N., ii. 5. 
 
 Show your "knave's visage, . . . Show your s/tcf^-J/^Hg' face. — M.forM.,v. i. 
 
 My revenue is the silly cheat [' petty theft']. — W. T., iv. :i. 
 
 Slice, I say! pauca, pauca; slice ['cut,' 'be off'], I say! that's my humour. — 
 Merry W., i. i. 
 
 It would make a man as mad as a buck, to be so bought and sold [' tricked,' 
 ' duped,' 'befooled,' 'outdone']. — Com. of E., iii. 1. 
 
 Fly, noble English, you are bought and sold ['betrayed,' 'deceived,' 'deluded']. — 
 jfohn, V. 4. 
 
 Whither, my lord I From bought and sold Lord Talbot. — i H. VI., iv. 4. 
 
 For Dickon thy master is bought and sold. — R. III., v. 4 {Scroll). 
 
 Thou art bought and sold among those of any wit. — Tr. &• Cr., ii. i. 
 
 The boy hath sold him a bargain ['made a fool of him'], a goose, that's flat. — 
 Love's L. L,, iii. 1. 
 
 I know not how they sold [' betrayed,' ' defrauded.' ' yielded at too low a price,' 
 ' at too small a cost'] themselves, but thou, like a kind fellow, gavest thyself away 
 gratis. — 2 H. IV., iv. 3. 
 
 'Tis thou hast sold ['betrayed'] me to this novice; ... to the young Roman 
 boy she hath sold me. — Ant. &• C, iv. 10. 
 
 He hath wronged his honour in marrying the renowned Claudio ... to a con- 
 taminated stale ['woman hackneyed in vicious courses'], such a one as Hero. — 
 M. Ado, ii. 2. 
 
 To link ray dear friend to a common stale, — Ibid., iv. i. 
 i No long-staff sixpenny strikers [' pickpockets']. — i H. IV., ii. j.. 
 
 He 's no swaggerer, hostess ; a tame cheater [' a petty rogue,' ' a low gamester,' 
 ' a cozener'], i' faith. — 2 H. IV., ii. 4. 
 
 Every coystril that hither comes inquiring for his Tib ['common woman']. — 
 Per., iv. 6. 
 
 Peace, good pint-pot ! peace, good tickle-brain ! [this cant term for some kind of 
 
42 THE SHAKESPEARE KEY. 
 
 strong drink is jocosely applied to Hostess Quickly by Falstaft, as a nick-namej. — 
 I H. IV., ii. 4. 
 
 Am I a woodman ['a hunter of forbidden game,' ' a pursuer of wanton sports'], 
 ha ? — Merry W., v. 5. 
 
 Friar, thou knowest not the duke so well as I do: he's a better woodman than thou 
 takest him for. — M.for M., iv. 3. 
 
 There are some cant terms, in use when Shakespeare wrote, which 
 designated natives of particular countries famed for dexterous trickery 
 or dissolute manners : — 
 
 I will not believe such a Catalan [Cataia, or Cathay, was a name for China, whose 
 people have the reputation of being adroit jugglers and the imputation of being dexter- 
 ous cheats; hence the term " Cataian " became used as a slang term for 'a cheat.' 
 But we believe that Shakespeare included in it the meaning of ' outlandish.' ' far- 
 fetched,' ' extravagant,' ' eccentric ' ; in the present passage, in reference to Nyms 
 fantastic style of phraseology] though the priest. — Merry W. ii. i. 
 
 My lady 's a Cataian [Sir Toby partly uses this in the sense of ' a rogue,' partly in 
 the sense of 'a strange fantastical creature.']. — Tw. N., ii. 3. 
 
 Tell me flatly I am no proud Jack, like Falstaff; but a Corinthian [a 'free liver; ' 
 Corinth having been notorious for its profligate habits, manners, and people], a lad of 
 mettle.— I H. IV., ii. 4. 
 
 It is thine host, thine Ephcsian ['jolly companion,' roystering associate'; the 
 term probably included a mixture of ' roguery,' as Ephesus was reputed for its 
 "cozenage" (seethe closing speech of act i., " Comedy of Errors") ; and we beheve 
 moreover that it also included some hint of heterodoxy, judging from the context, 
 "of the old church " and "what pagan" in the passage we here next cite], calls. — 
 Merry W., iv. 5. 
 
 What company? — Ephesians, my lord; of the ©Id church. — Sup any women with 
 him ? — None, my lord, but old Mistress Quickly, and Mistress Doll Tear-sheet. — What 
 pagan may that be .' — 2 H. IV., ii. z. 
 
 I pr'ythee, foolish Greek [' merr\--maker,' 'frolicsome jester'; the familiar term, a 
 merry grig, is a corruption of • a merry Greek ;' which expression originated in the 
 fact that the Greeks were esteemed a jovial people, and v/as perhaps partly derived 
 from the Latin gracari, to revel, to carouse], depart from me. — Tw. N., iv. 1. 
 
 Then she 's a merry Greek indeed. — Tr. &' C.r., i. 2. 
 
 A woful Cressid 'mongst the merry Greeks. — Ibid, iv. 4. 
 
 Hector was but a Trojan ['thief;' probably originating in a reference to Paris, who 
 stole Helen from her husband. MenelausJ in respect of this . . . unless you play the 
 honest Trojan, the poor wench. — Love's L. L., v- 2. 
 
 Dost thou thirst, base Trojan, to have me fold up Parca's fatal web ? . . . Base 
 Trojan, thou shalt die. — H. V., v. i. 
 
 Tut! there are other Trojans thou dreamest not of. — i H. IV., ii. 1. 
 
 CHORUSES: INDUCTIONS: PROLOGUES: EPILOGUES. 
 
 These are among the dramatic resources used by Shakespeare ; but 
 he has introduced them into only a few of his plays : — 
 
 Enter Time, as Chorus. 
 I, that please some, try all ; &c. — W. T., iv. 
 
 Enter Chorus {forming Prologue). 
 O for a muse of fire, that would ascend, &c. — H. V., i. 
 
 Enter Chorus. 
 Now all the youth of England are on fire, &c. — Ibid., ii. 
 
CHORUSES: INDUCTIONS: PROLOGUES: EPILOGUES. 43 
 
 Enter Chorus. 
 Thus with imagin'd wing our swift cause flies, &c. — H. V., iii. 
 
 Enter Chorus. 
 Now entertain conjecture of a time, &c. — Ibid., iv. 
 
 Enter Chorus. 
 Vouchsafe to those that have not read the story, &c. — Ibid., 'v. 
 
 Enter Chorus (forming Epilogue). 
 Thus far, with rough and all unable pen, &c. — Ibid., v. 2. 
 
 Enter Chorus (forming Prologue). 
 Two households, both alike in dignity, &c. — R. &• Jul., i. 
 
 Enter Chorus. 
 Now old desire doth in his death-bed lie, &c. — Ibid., i. 5. 
 Enter Gower, as Chorus (forming Prologue). 
 To sing a song that old was sung, &c. — Per., i. 
 Enter Gower, as Chorus. 
 Here have you seen a mighty king, &c. — Ibid., ii. 
 
 Enter Gower, as Chorus. 
 
 Now sleep yslaked hath the rout, &c. — Ibid., iii. 
 
 Enter Gower, as Chorus. 
 
 Imagine Pericles arrived at Tyre, &c. — Ibid., iv. 
 
 Enter Gower, as Chorus. 
 
 Thus time we waste, and longest leagues make short, &c. — Ibid., iv. 4. 
 
 Enter Gower, as Chorus. 
 Marina thus the brothel 'scapes, &c. — Ibid., v. 
 Enter Gower, as Chorus. 
 Now our sands are almost run, Sec— Ibid., v. .!.. 
 
 Enter Gower, as Chorus (forming Epilogue). 
 In Antiochus, and his daughter, you have heard, &c. — Ibid., v. 3. 
 There is an Induction to the play of " Taming of the Shrew,' 
 consisting of two short scenes, and a brief bit of dialogue : — 
 
 INDUCTION. 
 Scene I. — Before an alehouse on a heath. 
 Enter Hostess and Sly. 
 Sly, I '11 pheeze you, in faith, &c. — Tam. of S., Indite, i. 
 
 INDUCTION. 
 
 Scene II. — A bedchamber in the lord's house. 
 
 Sly is discovered, with Attendants : some with apparel, &c. 
 
 Sly. For God's sake, a pot of small ale, &c. — Ibid., Indue. 2. 
 
 First Serv. My lord, you nod ; you do not mind the play. — Ibid., i. i. 
 
 There is an Induction to the historical play of "The Second Part of 
 King Henry IV.," consisting of a speech which forms a kind of Chorus- 
 prologue : — 
 
 INDUCTION. 
 Warkworth. Before Northumberland's castle. 
 Enter Rumour, painted full of tongues . 
 Open your ears ; for which of you will stop, &c.— 2 H. IV., i. 
 
44 THE SHAKESPEARE KEY. 
 
 There is a Prologue to the grand drama of" Henry VIII.," and one to 
 " Troilus and Cressida " : — 
 
 PROLOGUE. 
 I come no more to make you laugh, &c. — H. VIII., i. 
 
 PROLOGUE. 
 In Troy, there lies the scene. From isles of Greece 
 The princes orgulous, . . . 
 . . . and hither am I come 
 A prologue arin'd, but not in confidence 
 Of author's pen or actor's voice ; but suited 
 In like conditions as our argument — 
 To tell you, fair beholders, that our play, &c. — Tr. &■ Cr., i. 
 
 The above words, that we have itaHcised, show that in this case the 
 Prologue was clad in armour ; whereas the usual dress worn by the 
 speaker of a prologue was a suit of black. 
 
 There is an incidental prologue (to the interlude of " Pyramus and 
 Thisbe ") in the course of " A Midsummer Night's Dream " : — 
 
 Enter Prologue. 
 If we offend, it is with our good will, &c. — Mid. X. D., v. i. 
 
 And there is another incidental prologue (to the " Murder of 
 Gonzago " in the course of " Hamlet " : — 
 
 Enter Prologue. 
 
 ****** 
 
 For us, and for our tragedy, &c. — Hamlet, iii. 2. 
 And there are epilogues appended to the following plays : — 
 Epilogue {spoken by Prospero). 
 Now my charms are all o'erthrown, &c. — Temp. 
 
 Epilogue (spoken by Rosalind). 
 It is not the fashion to see the lady the epilogue, (Sec. — As You L. 
 
 Epilogue [spoken by a Dancer). 
 First, my fear; then my court'sy ; last, my speech, &c. — 2 H. IV. 
 
 EPILOGUE. 
 'Tis ten to one, this play can never please all, &c. — H. VIII. 
 
 There are final speeches,* forming a kind of epilogue, to the two 
 following dramas: — 
 
 Puck. If we shadows have offended, &c. — Mid. N. D., v. a. 
 King. Let us from point to point. . . . 
 The king 's a beggar, now the play is done, &c. — AlVs W., v. 3. 
 
 And in the two following, songs are sung that have the effect of an 
 epilogue : — 
 
 Song. 
 When daisies pied, and violets blue, &c. — Love's L. L., v. 2. 
 
 Song. 
 When that I was, and a little tiny boy, &c. — Tin. N., v. 1. 
 
 * At the close of " Troilus and Cressida " there are some lines that appear some- 
 what like an intended epilogue of this kind ; but we have recorded our conviction of 
 their being spurious under the heading. Coarsenesses and Delicacies. 
 
CLOSING SCENES: BRIEF SCENES. 
 
 CLOSING SCENES: BRIEF SCENES. 
 
 It is observable that Shakespeare generally makes the closing scenes 
 of his plays conclude with a speech from one of the leading or most 
 high-ranked characters therein ; and that this character (even in his 
 comedies) is invariably a male personage; whereas, in modern dramas 
 (especially comedies) it is almost always a woman character who 
 speaks the final words — what, in theatrical parlance, is called "the 
 tag." Another peculiarity in his closing scenes is the mode in which 
 he winds up the plot or story of a drama in its final scene ; sometimes 
 giving the dialogue in such succinct style as shall merely recount 
 points needful to be explained to the audience, but leaving unrecapi- 
 tulated those already known to them [See Passages of Incomplete 
 Explanation]. 
 
 Many of his apparently slight and insignificant scenes are worthy 
 of notice as containing indications of his artistic skill in dramatic 
 writing. Certain of these brief scenes are introduced preparatively to 
 a long and important one; as, for example, where two officers of the 
 Capitol enter, "to lay cushions," and prepare for the entrance of the 
 Roman Senators and Tribunes, coming to recognise and reward the 
 military services of Coriolanus against the Volsces. The dialogue 
 between these two attendants, serves admirably to bring forward the 
 view taken of Marcius's haughty and unbending disposition, his claims, 
 his merits, and his chances of attaining the consulship. It commences 
 thus : — 
 
 First Off. Come, come, they are almost here. How many stand for consulships ? 
 
 Sec. Off. Three, they say : but 'tis thought of every one Coriolanus will carry it. 
 
 First Off. That 's a brave fellow ; but he 's vengeance proud, and loves not the 
 common people. 
 
 Sec. Off. Faith, there have been many great men that have flattered the people, who 
 ne'er loved them ; and there be many that they have loved, they know not where- 
 fore, &c., &c. — Coriol., ii. z. 
 
 So likewise the scene where "two or three servants" enter, to pre- 
 pare a banquet (rear-banquet, or dessert, rather), on board Pompey's 
 galley, when the illustrious guests, Caesar, Antony, with Lepidus, 
 Enobarbus, and others, have been invited to feast there ; the dialogue, 
 with its free discussion of the wine-heated revellers, their unstead}' 
 feet, half rendered so by the unaccustomed motion of the vessel, half 
 by the deep potations they have already imbibed, its contempt of the 
 weak yet conceited " third " in the Triumvir — Lepidus, is thoroughly 
 true to nature and highest dramatic art : — 
 
 First Serv. Here they'll be, man. Some o' their plants are ill-rooted already ; the 
 least wind i' the world will blow them down. 
 
 Sec. Serv. Lepidus is high-coloured. 
 
 First Serv. They have made him drink alms-drink. 
 
 Sec. Serv. As they pinch one another by the disposition, he cries out " No more ; ' 
 reconciles them to his entreaty, and himself to the drink, &c., &c. — Ant. &• C, ii. 7. 
 
 Several of Shakespeare's brief scenes (though often omitted in stage 
 representation) are of marked importance to the dramatic evolvement 
 and conduct of the story ; and serve significant purpose, moral as well 
 
THE SHAKESPEARE KEY. 
 
 as dramatic, notwithstanding the objections that certain commen- 
 tators have made to some of these very scenes. So essential are 
 they to the completeness of our great dramatist's design, that he fre- 
 quently uses them as the " Chorus " was used by the Grecian dra- 
 matists — to form an elucidatory comment upon the passing incidents, 
 to denote popular feeling and opinion concerning characters and events, 
 or to carry on the main plot by subsidiary occurrences. In the first of 
 the following examples, it is worthy of remark how Shakespeare has 
 contrived to subtly show the way in which men unconsciously miss 
 valuable opportunities. Had Leonato listened to what his " tedious 
 neighbours had to say to him, he would have been spared his misery 
 in the scene of his daughter's broken-off marriage : — 
 
 Leon. What would you with me, honest neighbour ? 
 
 Dogberry. Marry, sir, I would have some confidence with you, that decerns you 
 nearly, &c., Scc.—M. Ado, iii. 5. 
 
 By the following short scene, the dramatist not only keeps well before 
 the mind Shylock's unrelenting persecution of the merchant creditor 
 whom he has got within his power, but also shows how impossible it is 
 for the Venetian state legally or expediently to rescue the Christian from 
 the Jew's exaction of the penalty : — 
 
 Shylock. Gaoler, look to him : tell not me of mercy ; 
 This is the fool that lent out money gratis ; . . . 
 ' Ant. The duke cannot deny the course of law, &c., &c. — Mer. of V., iii. 3. 
 
 By the following, Portia (as the young Doctor of Laws) is shown to 
 fulfil, in careful, practical, professional way, the duty of conveying the 
 deed to Shylock for signature ; to receive the ring from her husband 
 which she desired to obtain ; and to desire Gratiano's conducting her 
 clerk to the Jew's house, which affords the opportunity for Nerissa also 
 to secure possession of her husband's ring in a natural manner : — 
 
 Portia. Inquire the Jew's house out, give him this deed. 
 And let him sign it : . . . 
 
 Gratiano. Fair sir, you are well o'erta'en : 
 My lord Bassanio, upon more advice, 
 Hath sent you here this ring, . . . 
 
 Portia. ... I pray you, show my youth old Shylock's house, &c., &c. 
 
 Ibid., iv. 2. 
 
 The following is ingeniously calculated to impress upon the audience 
 the fact of the king's absence from England, to denote the rumours of 
 the king's death that have arisen while he is away in Ireland, the vain 
 efforts made by his adherents to preserve allegiance to him, and the 
 dark foreboding with which his downfall is poetically foreshadowed. 
 Dr. Johnson remarks upon this scene that it is " unartfully and irre- 
 gularly thrust into an improper place," and advises that it should be 
 inserted later on in the play, so as to form the second scene of the third 
 act ; but, to our thinking, the objects of the dramatist, as we have 
 above stated them, are better effected by being introduced at the close 
 of the second act, and thus set apart from the scenes in the third act, 
 where Richard returns to England, and Salisbury joins him with the 
 news of the Welsh defection, than if brought into juxtaposition there- 
 with : — 
 
CLOSING SCENES : BRIEF SCENES. 47 
 
 Scene IV. — A camp in Wales, 
 Enter Salisbury, and a Welsh Captain. 
 Cap. My lord of Salisbury, we have stay'd ten days, 
 And hardly kept our countrymen together, 
 And yet we hear no tidings of the king: 
 Therefore we will disperse ourselves : farewell. 
 
 Sal. Stay yet another day, thou trusty Welshman : 
 The king reposeth all his confidence in thee. 
 
 Cap. 'Tis thought, the king is dead ; we will not stay. 
 The bay-trees in our country are all wither'd. 
 And meteors fright the fixed stars of heaven : . . . 
 Sal. Ah, Richard, with the eyes of heavy mind 
 I see thy glory, like a shooting star. 
 Fall to the base earth from the firmament ! &c., &c. — R. II., ii. 4. 
 
 The following lets the misgiving of the populace and their discussion 
 of public events be perceived in the most dramatically natural way 
 possible: — 
 
 Scene III. — London. A street. 
 Enter Two Citizens, meeting. 
 First at. Good morrow, neighbour : whither away so fast ? 
 Sec. at. I promise you, I scarcely know myself : 
 Hear you the news abroad ? 
 First at. Yes — that the king is dead. 
 
 Sec. at. Ill news, by 'r lady ; seldom comes the better : 
 I fear, I fear, 'twill prove a giddy world. 
 
 Enter a Third Citizen. 
 Third at. Neighbours, God speed ! . . . 
 Doth the news hold of good King Edward's death ? 
 Sec. at. Ay, sir, it is too true ; &c., &c. — R. III., ii. 3. 
 
 The following, consisting merely of a soliloquy from " a Scrivener," 
 appointed to write out the indictment of Lord Hastings, succinctly 
 depicts the summariness with which the usurper proceeds in putting 
 out of his way those who obstruct his path, and the dismayed clearness 
 though prudent silence with which his course is discerned by lookers- 
 on : — 
 
 Scene VI. — London. A street. 
 Enter a Scrivener. 
 Scriv. Here is the indictment of the good Lord Hastings ; 
 Which in a set hand fairly is engross'd, 
 That it may be to-day read o'er in Paul's, &c., &c. — Ihid., iii. 6. 
 
 The following graphically details the picture of Buckingham's trial 
 and condemnation ; together with the public perception of Wolsey's 
 being the originator of this and other state attainders, court disgraces, 
 and removals from royal favour : — 
 
 Scene I. — London. A street. 
 Enter Two Gentlemen, meeting. 
 First Gent. Whither away so fast ? 
 Sec. Gent. Oh, God save you ! 
 
 E'en to the hall, to hear what shall become 
 Of the great Duke of Buckingham. 
 
 First Gent. I '11 save you 
 
 That labour, sir. All 's now done, but the ceremony 
 Of bringing back the prisoner, &c., &c. — H. VIII., ii. i. 
 
48 THE SHAKESPEARE KEY. 
 
 The following, with equal vividness, gives the description of public 
 feeling concerning the divorce between the king and his first queen, 
 Katharine of Arragon, the marriage with Anne Boleyn ; and the 
 gorgeous account of her coronation and great personal beauty, together 
 with allusions to Wolsey's downfall, Gardiner's enmity towards 
 Cranmer, and Thomas Cromwell's advance in royal favour : — 
 
 Scene I. — A street in Westminster. 
 Enter Two Gentlemen, meeting. 
 First Gent. You 're well met once again. 
 Sec. Gent. So are you. 
 
 First Gent. You come to take your stand here, and behold 
 The Lady Anne pass from her coronation ? . . . 
 
 Enter a Third Gentleman. 
 God save you, sir ! where have you been broiling ? 
 
 Third Gent. Among the crowd i' the abbey ; . . . 
 
 Sec. Gent. ... He of Winchester 
 
 Is held no great good lover of the archbishop's. 
 The virtuous Cranmer, &c. &c., — H. VIII., iv. i. 
 
 The following is well contrived and inserted, to indicate the insurrec- 
 tionary condition of Rome, and the auspicious condition of the Volscian 
 State, at the time being ; preparing well the subsequent events in the 
 drama : — 
 
 Scene III. — A highway between Rome and Antiiim. 
 Enter a Roman and a Volscian, meeting. 
 
 Rom. I know you well, sir, and you know me : your name, I think, is Adrian. 
 
 Vols. It is so, sir : truly, I have forgot you. 
 
 Rom. I am a Roman ; and my services are, as you are, against them : know you me 
 yet.' 
 
 Vols. Nicanor ? No. 
 
 Rom. The same, sir, &c. &c. — CorioL, iv. 3. 
 
 The following is used by the dramatist as a means of confirming to 
 us the fact of Timon's benevolence and generosity of disposition, and 
 as a means of showing the superficial compassion excited in casual 
 witnesses of social injustices. These three men behold the callous in- 
 gratitude with which Timon is treated, they pity his condition, they 
 profess themselves willing to relieve his distress, — had they beeyi applied 
 to ; but, as it is, they consider it no business of theirs, make no pause 
 to inquire into the truth of his need, but go on their way with a shrug 
 of the shoulders and a trite axiom upon the prudence of dispensing with 
 pity and suppressing conscience : — 
 
 Scene II. — Athens. A public place. 
 Enter Lucius, with Three Strangers. 
 Liic. Who, the Lord Timon ? he is my very good friend, and an honourable gentleman. 
 First Stran. We know him for no less, though we are but strangers to him, &c., &c. 
 — Timon, iii. 2. 
 
 In the following, picturesque description of the natural portents that 
 accompany last night's regicidal act is put into dramatic form and 
 most artistically made part of this grand tragic play ; as also the 
 reports that are current on the events immediately consequent upon 
 the deed that has been done : — 
 
CLOSING SCENES : BRIEF SCENES. 49 
 
 Scene IV. — Without the castle. 
 Enter RossE and an Old Man., 
 Old M. Three score and ten I can remember wellL 
 Within the volume of which time I have seen 
 Hours dreadful, and things strange ; but this sore night- 
 Hath trifled former knowings, &c., &c. — Macb., ii. 4.. 
 
 The following elicits from Dr. Johnson the remark th-at "it is not 
 easy to assign a reason why a nameless character should be introduced 
 here ; " but we believe that our consummate dramatist did so to give 
 the efifect of wide-spread discontent and disaffection, and that this 
 " lord " is but one of many who think thus abhorringly of the usurping 
 " tyrant." This brief but significant scene is excellently calculated to 
 denote Long Time and the steady growth of popular indignation, with 
 determination to obtain rescue from intolerable oppression : — 
 Scene VI. — Forres. A room in the palace. 
 Enter Lenox, and another Lord.. 
 Len. My former speeches have but hit your thoughts. 
 Which can interpret farther, &c., &c.,—Ibid., iii. 6. 
 By the following, Shakespeare contrives to show the influence of 
 passing events upon the mind of Hamlet, as affecting his task of 
 avenging his father's death; the share they have in urging him to 
 fulfil it promptly, the reasoning they induce, and the resolves they 
 inspire : — 
 
 Scene IV. — A plain in Denmark. 
 . Enter Fortinbras, and Forces, marching. 
 For. Go, captain; from me greet the Danish king; . . . 
 Enter Hamlet, Rosencrantz, Guildenstern, &c. 
 Ham. Good sir, whose powers are these 2 
 Cap. They are of Norway, sir, &c., &c., — Hamlet, iv. 4. 
 
 In the following two brief dialogues — one commencing a scene, and 
 the other concluding a scene — the dramatist introduces current reports 
 that acquaint the audience with coming events essential to the storj-, 
 but which are not shown in action ; while he gives the concomitant 
 effect of the impression they produce upon the public figuring in the 
 play :— 
 
 Edmund. Save thee, Curan. 
 
 Curan. And you. sir. I have been with your father, and given him notice that the 
 Duke of Cornwall, and Regan his duchess, will be here with him to-night. 
 
 Edmund. How comes that? 
 
 Curan. Nay, I know not. You have heard of ike news abroad; I mean the 
 whispered ones, for they are yet but ear-kissing arguments ? 
 
 Edmund. Not I : pray you, what are they ? 
 
 Curan. Have you heard of no likely wars toward, 'twixt the Dukes of Cornwall and 
 Albany? 
 
 Edmund. Not a word. 
 
 Curan. You may, then, in time. Fare you well, sir. — Lear., ii. i. 
 
 Gentleman. Holds it true, sir, that the Duke of Cornwall was so slain ? 
 Kent. Most certain, sir. 
 Gentleman. Who is conductor of his people ? 
 Kent. As 'tis said, the bastard son of Gloster. 
 
 Gentleman. They say, Edgar, his banished son, is with the Earl of Kent in Germany. 
 Kent. Report is changeable. 'Tis time to look about ; the powers of the kingdom 
 approach apace. 
 
 Gentleman. The arbitrement is like to be bloody. Fare you well, sn.—Ibid., iv, -. 
 
 E 
 
50 THE SHAKESPEARE KEY. 
 
 Occasionally Shakespeare introduces short contrasting scenes ; where 
 a grotesque character or dialogue immediately precedes a deeply serious 
 or profoundly tragic occurrence. The following picture of rough eager- 
 ness and excitement among the people, just before the gorgeous spec- 
 tacle of the royal christening procession^ aids in giving grandeur and 
 solemnity to that pageant : — 
 
 Scene III, — The palace yard. 
 
 Noise and iumiili within. Enter Porter and his Man. 
 
 Porter. You '11 leave your noise anon, ye rascals, &c. — H. VIII., v. 3. 
 
 The following bout of grinning waggery has been objected to as 
 ill-judged and untimely even by Coleridge, who observes, "It is diffi- 
 cult to understand what effect, whether that of pity or of laughter, 
 Shakespeare intended to produce ; " but, to our mind, the intention 
 was to show how grief and gaiety, pathos and absurdity, sorrow and 
 jesting, elbow each other in life's crowd ; how the calamities of ex- 
 istence fall heavily upon some, while others, standing close beside the 
 grievers. feel no jot of suffering or sympathy. Not only do we fail to 
 perceive the want of harmony here ; we, on the contrary, feel it to be 
 precisely one of those passing discords that produce richest and fullest 
 effect of harmonious contrivance. The footboy Peter's eagerness to 
 have his "merry dump " played to him while the musicians are con- 
 veniently in the house, though in the very hour of his young lady's 
 death — the musicians loitering to bandy jokes with the footboy, secure 
 their pay, and get a good dinner ere they go, are not merely in perfect 
 keeping with the Nurse's heartlessness and selfishness in bidding Juliet 
 renounce Romeo for Paris in order to secure her snug place in the 
 rich Capulet's family ; they also serve the purpose of bringing into 
 higher relief the passionate grief of Rorrieo and his prodigal flinging 
 away of life in order to join her he loves and has lost : — 
 
 First Musician. Faith, we may put up our pipes, and be gone. . . . Enter Peter. 
 Peter. Musicians, 0, musicians, " Heart's ease, Heart's ease " • Oh, an you will have 
 me live, play " Heart's ease," &c. — R. &• Jul., iv. 5. 
 
 In the same spirit of effective contrast — true to life and natural 
 course — is the introduction of the following ; and yet it has been 
 strongly denounced, and Coleridge has gone so far as to affirm that it 
 is not Shakespeare's writing. Reluctant as we are to differ with so 
 illustrious an authority in imaginative writing as the author of "The 
 Ancient Mariner" and " Christabel," we cannot help believing that it 
 is not only Shakespeare's composition, but his maturely considered 
 introduction at this point of the tragedy. Firstly, it serves to lengthen 
 out Dramatic Time, which requires that the period from the king's 
 retiring to rest — the dark hours for the commission of the murder — 
 should be supposed to have elapsed ere the now entrance of Macduff to 
 attend upon the king's awakening; and, secondly, its repulsively coarse 
 humour serves powerfully to contrast, yet harmonise, with the base 
 and gory crime that has been perpetrated. Shakespeare's subtleties of 
 harmony in contrast are among his most marvellous powers ; and we 
 venture to thmk that this gross joking of the drunken Porter, with 
 Macduft's unconscious joining in the fellow's ribaldry, while the 
 
CLOSING SCENES: BRIEF SCENES. 51 
 
 murdered king lies weltering in his blood, and the morning dawn is 
 shedding its approaching light on the foul deed and the filthy talk 
 alike, are among these subtleties : — 
 
 Porter. Here 's a knocking, indeed ! . . . 
 
 Enter Macduff and Lenox. 
 Macduff. 'Was it so late, friend, ere you went to bed. 
 That you do lie so late ? &c. — Macb., ii. 3. 
 
 Again, in the following, how grimly does the earthy gossip of the 
 two grave-digging Clowns — and then the partly material talk, partly 
 mournful moralising, of the prince and his friend concerning the skulls, 
 merging into their almost light interchange of talk with the man who 
 is heaving up the churchyard mould beside the very grave preparing 
 for the woman of Hamlet's love — come in juxtaposition with the ad- 
 vancing funeral train. How it enhances the melancholy of the scene ! 
 and what a homily it forms upon humanity and its unconsciousnesses, 
 treading blindly upon the verge of all we hold most sacred and most 
 dear! Surely this was felt and intended by the most consummate of 
 dramatists; and it was not without design that he so ordained these 
 contrasting scenes: — 
 
 First Clown. Is she to be buried in Christian burial, that wilfully seeks her own 
 salvation ? . . . 
 
 Enter Hamlet and Horatio, &c. — Hamlet, v. i. 
 
 Certainly it was not without artistic intention that Shakespeare 
 introduced the following piece of jester's levity immediately before 
 Cassio's gravely anxious appeal, and the subsequent supremely serious 
 scene of tragic interest — that scene which is unsurpassed in all 
 dramatic literature for its skill in the display of human passions worked 
 upon by diabolical insinuation and instigation : — 
 
 Enter Cassio and some Musicians. 
 Cassio. Masters, play here; . . . Enter Clows. 
 Clown. Why, masters, have your instruments, &c. — 0th., iii. i. 
 
 And, in the following, there is the same visible intention of producing 
 contrasted effect; the Clown's rustic obtuseness and grinning familiarity 
 heightening the impression of mingled gorgeousness, voluptuousness, 
 gloom, and imperial will, in the regal Cleopatra's coming death-hour: — 
 
 Re-enter Guard, with a Clown bringing in a basket. 
 Guard. This is the man. 
 
 Cleo. Avoid, and leave him. [Exit Guard. 
 
 Hast thou the pretty worm of Nilus there. 
 That kills and pains not ? 
 Clown. Truly, I have him : but I would not be the party that should desire you to 
 touch him, for his biting is immortal ; those that do die of it, do seldom or never 
 recover, SiC, &c. — Ant, &• C, v. 2. 
 
 E 2 
 
52 THE SHAKESPEARE KEY. 
 
 COARSENESSES AND DELICACIES. 
 
 There are certain passages of gratuitous coarseness that have been 
 preserved in most editions of Shakespeare's works, as being by 
 possibility his ; but we believe, from their irrelevant and tacked-on 
 effect, that they are merely excrescences supplied by the actors of those 
 parts wherein they occur ; it having formerly been the custom of 
 dramatists to leave passages thus open for filling in at discretion, or as 
 occasion directed. \_See Points left for Improvisation.] One of 
 these occurs at the close of " Troilus and Cressida ; " where Pandarus, 
 left by himself, when Troilus has abruptly quitted him, continues the 
 four rhymed lines of his speech with a trashy addition, that wears 
 marvellously the appearance of an interpolation. Our opinion on this 
 point is supported by the fact, that the general diction of the fifth act of 
 this drama bears evident marks of weakness and non-Shakespearian 
 style ; as though he had left the concluding act in the manner he had 
 found it written in an earlier drama on this subject, or had permitted 
 the concluding eight scenes (for we believe the first three of act v. to 
 be as certainly Shakespeare's as we doubt the latter ones) to be 
 appended by some other hand approved by the players : or, even, they 
 may have been supplied by the actors themselves. The addition to 
 which we allude is moreover patched on to the previous portion of the 
 speech by a line of introductory prose : — 
 
 Good traders in the flesh, set this in your painted cloths. 
 As many as be here of pander's hall, 
 Your eyes, half out, weep out at Pandar's fall ; 
 Or, if you cannot weep, &c., &c. — Tr. &• Cr., v. ii. 
 
 Another of these passages occurs in the tragedy of "King Lear"; 
 where, after the old king has gone with Kent into the hovel, the Fool 
 utters a speech containing fourteen lines of rhymed ribaldrj', which 
 although retained in the folio is omitted in the quartos. This fact, 
 together with the circumstance that the Fool's rhyming occurs after 
 Lear has left the stage, suffice to condemn it as spurious : for Shake- 
 speare's Fool utters his half-rambling, half-pertinent morsels for the 
 sake of beguiling his old master's thoughts, and labouring " to outjest 
 his heart-struck injuries "; he does not stay behind to gabble trumpery 
 by himself, addressed solely to the rain and wind : — 
 
 Fool. This is a brave night to cool a courtesan. I '11 speak a prophecy ere I go. 
 When priests are more in word than matter ; 
 When brewers mar their malt with water ; 
 When nobles are, &c., &c. — Lear, iii. 2. 
 
 We think that wherever there is marked irrelevancy or dramatic 
 purposelessness in gross passages occurring in Shakespeare's pla3's, 
 these may very confidently be believed to be none of his writing. In 
 several instances where his contemporary playwrights would have 
 made occasion for coarse expression, he has managed to word allusions 
 with comparative decency ; as witness the following two passages. In 
 
COARSENESSES AND DELICACIES. 53 
 
 the first, witty Sir John Falstaff hints at the swarming condition of 
 Wart's ragged garments, thus : — 
 
 I cannot put him to a -private soldier, that is the leader of so many thousands. — 
 2 H. IV., iii. 2. 
 
 And in the second, a similar concomitant of a Bedlam beggar's 
 clothing is thus conveyed : — 
 
 Lear. I '11 talk with this same learned Theban. 
 What is your study? 
 Edgar. How to prevent the fiend, and to kill vermin. — Lear, iii. 4. 
 
 As to his delicacies of diction and sentiment, scores might be cited ; 
 but, as single examples, we point to the reverie in " All's Well," iv. 4. 
 and the one in "Winter's Tale," i. 2 [See Soliloquies], for proof of 
 what we affirm of his skill and refinement in delineating the mind's 
 reverting to sacredly secret subjects of meditation. Also, we would 
 instance such touches of exquisitely pure feeling and beauty as the 
 following two. In the former, the answer of Leontes, instinct with 
 tender memory of his wife and mysterious attraction towards his 
 unknown daughter, excited by view of that face bearing likeness to the 
 mother's, is singularly in contrast with the gross treatment of the 
 subject in the counterpart passage of the original story whence Shake- 
 speare derived his plot of this play : — 
 
 Paulina. Sir, my liege, 
 
 Your eye hath too much youth in 't : not a month 
 'Fore your queen died, she was more worth such gazes 
 Than what you look on now. — 
 
 Leontes. I thought of her. 
 
 Even in these looks I made. — W. T., v. i. 
 
 In the latter, the poet's skill, subtlety, and delicacy of expression, 
 combined with voluptuous and imaginative description of the highest 
 kind, are unparalleled. By his singular dexterity of writing in the 
 following passage, the words "how dearly they do't" convey the 
 impression of lachimo's picturing to himself for a passing moment how 
 exquisitely those lips can kiss ; while the next sentence gives the effect 
 of its being "her breathing" that the lips so "dearly" perform: 
 thus sanctifying and preserving the loveliness beheld by the lawless 
 intruder from the licence of even his very thought : — 
 
 How bravely thou becomest thy bed, fresh lily I 
 And whiter than the sheets ! That I might touch ! 
 But kiss ; one kiss ! Rubies unparagon'd. 
 How dearly they do 't ! 'Tis her breathing that 
 Perfumes the chamber thus : the flame 0' the taper 
 Bows toward her, and would under-peep her lids 
 To see the inclosed lights, now canopied 
 Under these windows, white and azure, lac'd 
 With blue of heaven's own tinct. — Cytn., ii. 2. 
 
54 THE SHAKESPEARE KEY. 
 
 COINED WORDS. 
 
 Shakespeare, with the right and might of a true poet, and with his 
 peculiar royal privilege as king of all poets, has minted several words 
 that deserve to become current in our language. He coined them for 
 his own special use to express his own special meanings in his own 
 special passages ; but they are so expressive and so well framed to be 
 exponents of certain particulars in meanings common to us all, that 
 they deserve to become generally adopted and used : — 
 
 For then the bold and coward, 
 The wise and fool, the artist and unread, 
 The hard and soft, seem all affin'd and kin. — Tr. &• Cr., i. 3. 
 
 Now, sir, be judge yourself 
 Whether I in any just term am affin'd 
 To love the Moor. — Oth., i. 1. 
 If partially affin'd, or leagu'd in office. 
 Thou dost deliver more or less than truth. 
 Thou art no soldier. — Ibid., ii. 3. 
 
 By the condensedly framed word "affin'd," Shakespeare expresses, 
 in the first of the above three passages, 'united by affinity;' in the 
 second, ' bound by any claim of affinity ;' and in the third, ' swayed by 
 any link of affinity.' 
 
 You, Titus Lartius, 
 
 Must to Corioli back : send us to Rome 
 
 The best, with whom we may articulate. 
 
 For their own good and ours. — Coriol., i. g. 
 
 These things, indeed, you have articulated, 
 
 Proclaim'd at market-crosses, read in churches. — i H. IV., v. 1. 
 
 Shakespeare framed for himself the verb " articulate" (from one of 
 the meanings of the Latin word articulus, ' an article or condition 
 in a- covenant ') to express concisely ' enter into articles ; ' and 
 "articulated," to express ' set forth in articles.' 
 
 You are much more atiask'd for want of \visdom 
 Than prais'd for harmful mildness. — Lear, i. 4. 
 
 In the above passage, the word " attask'd " succinctly expresses 
 ' taken to task.' 
 
 Or to the dreadful summit of the cliff, 
 
 That beetles o'er his base into the sea..— Hamlet, i. 4. 
 
 " Beetle-brows," to express ' prominent brows,' was a very old 
 epithet; and Shakespeare framed the expressive verb "beetles," to 
 indicate a cliff's summit that 'juts out prominently,' that 'projects' 
 beyond its wave-worn base, like the head of a wooden " beetle " or 
 mallet. 
 
 With cadent tears fret channels in her cheeks. — Lear, i. 4. 
 
 From the Latin word cadens, 'falling,' 'trickling,' 'pouring down,' 
 Shakespeare invented the poetical epithet " cadent." 
 
 As, by the same co-mart, 
 And carriage of the article design'd. 
 His fell to Hamlet. — Hamlet, i. i. 
 
COINED WORDS. 55 
 
 Shakespeare framed the word "co-mart," to express 'joint bargains,' 
 ' compact made together,' in the same manner that the words ' co- 
 heiress,' 'co-partner,' &c., are formed, and as he himself formed the 
 word " co-mates" in the following passage: — 
 
 Now, my co-mates and brothers in exile. — As You L., ii. i. 
 For government, though high, and low, and lower, 
 Put into parts, doth keep in one consent, 
 Congreeing in a full and natural close, 
 Like music. — H. V., i. 2. 
 
 By the one word " congreeing,'' Shakespeare expresses ' agreeing 
 with itself, in all its parts.' 
 
 That, face to face and royal eye to eye. 
 You have congreeted. — Ibid., v. 2. 
 
 The single word "congreeted" expresses 'greeted each other,' 
 ' met together.' 
 
 First, all you peers of Greece, go to my tent ; 
 There in the full convive we. — Tr. &• Cr,, iv. 5. 
 
 Shakespeare frames the above verb to express ' let us be convivial,' 
 ' let us feast together.' 
 
 Yet here she is allow'd her virgin crants,- 
 
 Her maiden strewments, and the bringing home 
 
 Of bell and burial. — Hamlet, v. i. 
 
 Here Shakespeare has anglicised and brought into our language a 
 word which exists in various northern languages, under the form of 
 ' krans,' ' krants,' ' kranz,' and ' crance,' each meaning ' crown ' or 
 ' garland.' He has also in the present passage appropriately intro- 
 duced the custom which prevails in many countries of the north — 
 among the rest, Denmark — of placing on the grave of a maiden the 
 chaplet she wore when in life as token of her virgin condition, together 
 with the strewn flowers emblematical of her purity. 
 
 For my authority bears so credent bulk. 
 That no particular scandal once can touch, 
 But it confounds the breather. — M.for M., iv. 4^ 
 
 With what's unreal thou co-active art. 
 
 And fellow'st nothing : then, 'tis very credent 
 
 Thou may' St co-join with something. — W. T,, i. 2. 
 
 If with too credent ear you list his songs. — Hamlet, i. 3, 
 
 From the Latin participles credendus, ' to be believed or trusted.' 
 and credens, ' believing,' ' trusting,' Shakespeare fashioned the word 
 ' credent ' : to express, in the first of the above three passages, ' quality 
 commanding belief or credit ' ; in the second, ' easily to be believed or 
 credited' ; and in the third,, 'facilely believing of giving credit.' 
 
 Your wife OctalviS, with her modest eyes 
 And still conclusion, shall acquire no honour 
 Demuring upon me. — Ant, &• C, iv. 13. 
 
 In framing the word " demuring," the poet, with felicitous conden- 
 sation, expresses, ' looking demurely.' 
 
 The poisonous damp of night dispunge upon me. — Ant. &• C, iv. g. 
 
56 THE SHAKESPEARE KEY. 
 
 By the single verb " dispunge " is expressed 'discharge as from a 
 spunge.' 
 
 The violence of either grief or joy 
 
 Their own enaciurcs with themselves destroy. — Hamlet, iii. 2. 
 
 This expressive word was fabricated by the poet to designate ' pur- 
 poses put into action,' ' intentions enacted.' 
 
 Were they not forc'd with those that should be ours, 
 We might have met them dareful, beard to beard. 
 And beat them backward home. — Mack., v. 5. 
 
 Shakespeare framed .the vigorous word "forc'd" to express 'rein- 
 forced,' ' provided with forces ' ; and yet the emendators have sought to 
 deprive us of it by proposing various substitutions. 
 
 A good sherris-sack hath a twofold operation in it. It ascends me into the brain : 
 dries me there all the foolish and dull and crudy vapours which environ it ; makes 
 it apprehensive, quick, forsretive, full of nimble, fiery, and delectable shapes. — 
 zH.IV.,iv.3. 
 
 This word succinctly expresses ' capable of mentally forging.' 
 His heart {sfracted and corroborate. — H. V., ii. 1. 
 And my reliances on his fractcd dates 
 Have smit my credit. — Timon, ii. i. 
 
 From the Latin word fractiis, 'broken,' Shakespeare has fabricated 
 this expression, "fracted." 
 
 When vice makes mercy, mercy 's so extended, 
 
 That for the fault's love is th' oSendei friended. — M.for M., iv. 2. 
 
 Not/riended by his wish, to your high person 
 
 His will is most malignant. — H. VIII., i. 2. 
 Frame yourself 
 
 To orderly solicits, and befriended 
 
 With aptness of the season. — Cym., ii. 3. 
 
 Shakespeare makes the word "friended" concisely express what is 
 generally conveyed by the word ' befriended.' 
 
 And what so poor a man as Hamlet is 
 
 May do, to express his love axvi friending to you. — Hmnlet, i. 5. 
 
 He makes " friending " imply " friendly feeling.' 
 Though the treasure 
 Of Nature's germins tumble all together. — Macb., iv. 1.. 
 Crack Nature's moulds, all germins spill at once, 
 That make ingrateful man ! — l,ear, iii. 2. 
 
 He lias framed the word "germins" to express 'the principles of 
 germination.' 
 
 He led our powers ; 
 Bore the commission of my place and person ; 
 The which immediacy may well stand up, 
 And call itself your brother. — Lear, v, 3. 
 
 By the word " immediacy " Shakespeare succinctly expresses 
 ' authority immediately derived,' ' representativeship directi}' delegated 
 and not intermediately obtained.' 
 
 That I some lady trifles have reserv'd, 
 Immoment toys, things of such dignity 
 As we greet modern friends withal. — Ant. &• C.,v. z. 
 
 Shakespeare coined the word "immoment" to express ' unmo- 
 
COINED WORDS. 57 
 
 mentous,' ' of no moment or importance.' Both of the above-cited 
 words Dr. Johnson denounces; calling "immediacy" a harsh word, 
 and " immoment " a. barbarous word : but we very emphatically dis- 
 agree with the lexicographer's opinion, and venture to think them 
 admirably condensed and significant words, which it would be well 
 to adopt and retain in our language. It appears to us that instead of 
 abjuring felicitously framed expressions because they are unprecedented, 
 we ought, on the contrary, to receive with gratitude the philological 
 inventions of such masters in highest poesy and clearest sense as 
 William Shakespeare, when they frame new and good terms for their 
 own purposes, which will admirably serve ours. 
 
 Yet gives he not till judgment guide his bounty. 
 
 Nor dignifies an impair thought with breath. — Tr. &• Cr., iv. 5. 
 
 From the Latin impar, signifying 'unequal,' 'unsuitable,' 'unbe- 
 fitting,' 'unworthy;' from the Latin imparatus, signifying 'unpre- 
 pared,' ' unready,' ' perplexed,' ' entangled,' and from the English 
 ' impairing,' as signifying ' injurious,' ' detracting,' Shakespeare has 
 framed the adjective " impair," to express a compound meaning, 
 including the various significations of these derivatives. His contem- 
 poraries used the word "impair" as a substantive; but Shakespeare 
 made it do duty as an expressive adjective. 
 
 Will all great Neptune's ocean wash this blood 
 Clean from my hand ? No ; this my hand will rather 
 The multitudinous seas incarnardine, 
 Making the green^<ine red. — Macb., ii. ii. 
 
 Shakespeare devised the magnificently poetic verb " incarnardine " 
 from the Italian word incarnardino, ' carnation or flesh colour,' to 
 express ' stain carnation-red colour.' 
 
 He grew unto his seat ; 
 And to such wondrous doing brought his horse. 
 As he had been incorps'd and demi-natur'd 
 With the brave beast. — Hamlet, iv.. 7, 
 
 The word " incorps'd " more compactly expresses ' incorporated,' 
 while "demi-natur'd" poetically suggests the dual formation of the 
 centaur — half-man, half-horse. 
 
 You are born 
 To set a form upon that indigesi, 
 Which he hath left so shapeless and so rude. — jolin, v. 7. 
 
 And that your love taught it this alchemy. 
 
 To make of monsters and things indigest 
 
 Such cherubins as your sweet self resemble. — Sonnet 114. 
 
 From the Latin word indigestus, ' disordered,' ' confused,' Shake- 
 speare framed the term " indigest," which he uses as a noun, in the first 
 of the above passages, to express 'a mass of confusion or disorder,' 
 ' a chaos or chaotic state ' ; and as an adjective, in the second of the 
 above passages, to express ' unformed,' ' shapeless.' 
 
 The heavens themselves, the planets, and this centre, 
 
 Observe degree, priority, and place, 
 
 Insisture, course, proportion, season, form, 
 
 Office, and custom, in all line of order. — Tr. &• Cr., i. 3. 
 
58 THE SHAKESPEARE KEY. 
 
 From the Latin verb insistere, ' to stay,' ' stop,' or ' stand still,' 
 Shakespeare framed his word " insisture," to express ' fixed position,' 
 ' appointed situation,' ' steadfast place.' 
 
 As easy may'st thou the intrenchant air 
 
 With thy keen sword impress, as malte me bleed. — Macb., v. 7. 
 
 From the word " trenchant," ' cutting,' Shakespeare has formed the 
 epithet " intrenchant," to express ' incapable of being cut.' 
 
 The diamond — why, 'twas beautiful and hard. 
 
 Whereto his invis'd properties did tend. — Lover's Complaint, Stanza 31. 
 
 The poet formed the word "invis'd" to express ' unseen,' ' invisible.' 
 
 Conspir'd with that irregiilons devil, Cloten. — Cym., iv. 2. 
 
 Shakespeare invented the epithet " irregulous " to express something 
 much more strong than ' irregular ' ; something that combines the 
 sense of ' disorderly,' ' lawless,' ' licentious,' as well as ' anomalous,' 
 ' mongrel,' ' monstrous'- — out of ordinary rule and order in every way. 
 
 But soon that war had end, and the time's state 
 
 Made friends of them, jointing their force 'gainst Caesar. — Ant. &■ C, i. 2. 
 
 Here "jointing" is framed to express 'combining conjointlj', 
 'joining confederately.' 
 
 At such a point. 
 When half to half the world oppos'd, he being 
 The mered question. — Ibid., iii. 11, 
 
 Inasmuch as Shakespeare uses the word " mere " sometimes in the 
 sense of ' absolute,' ' entire,' ' sole,' and sometimes in the sense of 
 'boundary' or 'limit,' he here forms the word "mered" to express 
 ' limited entirely,' ' confined absolutely.' 
 
 Not Neoptolemus so mirable 
 
 (On whose bright crest Fame with her loud'st 0-yes 
 
 Cries, " This is he ! ") could promise to himself 
 
 A thought of added honour torn from Hector. — Tr. &• Cr., iv. 5. 
 
 From the Latin mirabilis, 'wonderful,' 'that which is to be ad- 
 mired at,' or 'marvelled at,' Shakespeare coined for himself the epithet 
 ' mirable.' 
 
 Our discontented counties do revolt ; 
 
 Our people quarrel with obedience ; 
 
 Swearing allegiance and the love of soul 
 
 To stranger blood, to foreign royalty. 
 
 This inundation of mistenipe/ d humour 
 
 Rests by you only to be qualified. — 'yohn, v, 1. 
 
 Rebellious subjects, enemies to peace, 
 
 Profaners of this neighbour-stained steel — ■ 
 
 Will they not hear ? What, ho I you men, you beasts. 
 
 That quench the fire of your pernicious rage 
 
 With purple fountains issuing from your veins, 
 
 On pain of torture, from those bloody hands 
 
 Throw your mistcmper'd weapons to the ground. — R. &• yul., i. 1. 
 
 In this excellently formed word " mistemper'd," the poet not only 
 gives the effect of ' ill-temper'd,' 'wrathful' ; he also gives the effect 
 of ' misguidedly and misdirectedly wrathful ' ; and he moreover 
 
COINED WORDS. 59 
 
 includes, in the first passage, the additional sense of ' ill-com- 
 pounded,' and, in the second passage, the additional sense of ' steel- 
 tempered, but to be used in a bad cause.' [See Varied Meanings 
 
 COMBINED IN OnE WoRD OR SENTENCE.] 
 
 Or— if sour woe delights in fellowship. 
 
 And needly will be rank'd with other griefs. — R. &• Jul., iii. 2. 
 
 Shakespeare has coined the word "needly" to express ' needfully, | 
 ' necessarily ; ' and has used it here in combination with " will be 
 as a form of our modern idiom ' needs must be.' 
 
 Earth, yield me roots ! 
 Who seeks for better of thee, sauce his palate 
 With thy most operant poison ! — Timon, iv. 3. 
 My operant powers their functions leave to do. — Hamlet, iii. 2. 
 
 Shakespeare constructed the word " operant " as an elegant and 
 concise form of ' operative,' to express ' actively efficacious.' 
 
 Take but degree away, untune that string, 
 
 And, hark, what discord follows ! each thing meets 
 
 In mere oppugnancy. — Tr. &• Cr., i. 3. 
 
 From the Latin word oppugnans, ' resisting,' ' assaulting,' or 
 ' fighting against,' our poet framed the expressive term " oppugnancy," 
 to express ' warring opposition.' 
 
 In the most high and palmy state of Rome. — Hamlet, i. i. 
 The palm being the emblem of victory, and the palm being often 
 mentioned as typical of flourishing (Shakespeare himself, in this very 
 play, act v., sc. 2, and in "Timon," act v., sc. i., having passages 
 which make this allusion), our author here forms the poetical epithet 
 " palmy " to corabinedly express ' victorious and flourishing.' 
 
 As true as steel, as plantage to the moon. — Tr. &• Cr., iii. 2. 
 Here the word " plantage" is invented to express plants generally or 
 collectively, all that is planted, vegetation. 
 
 Th& primogenitive and due of birth.— Tj-. &• Cr., i. 3. 
 
 From the two Latin words />rJ?HO, 'first,' and genitivus, 'that which 
 is bom with us,' Shakespeare framed the above word to express 
 ' the claims or right of the first-bom.' 
 
 A violet in the youth of primy nature, — Hamlet, i. 3. 
 
 As Shakespeare uses the word " prime" in the sense of ' spring,' 
 ' early bloom,' so here he frames the epithet " primy " to express 
 ' spring-timed,' ' early-blooming.' 
 
 For what, alas ! can these my single arms ? 
 What propugnation is in one man's valour, 
 To stand the push and enmity of those 
 This quarrel would excite ? — Tr. <&■ Cr., ii. z. 
 
 From the Latin word propugnatio, ' defence,' Shakespeare has 
 framed the term " propugnation " to express ' power of defence.' 
 
 But once put out thy light. 
 Thou cunning'st pattern of excelling nature, 
 I know not where is that Promethean heat 
 That can thy light relume. — 0th., v. 2. 
 
6o THE SHAKESPEARE KEY. 
 
 From the Latin, lumen, ' light,' Shakespeare has invented this 
 elegant verb " relume,' to express ' re-light,' ' light again.' 
 
 This sight would make him do a desperate turn, 
 Yea, curse his better angel from his side, 
 And fall to reprobance. — 0th., v. 2. 
 
 Shakespeare formed this word, as he formed the words " arrivance " 
 and " iterance" in the present play \_See Recurrence of Particular 
 Points], with the termination in "ance" instead of 'al' and 
 ' ation.' 
 
 This sleep is sound indeed ; this is a sleep, 
 
 That from this golden rigol hath divorc'd 
 
 So many English kings. — 2 H. IV., iv. 4. 
 
 About the mourning and congealed face 
 Of that black blood a watery rigol goes, 
 Which seems to weep upon the tainted place. — Lucrece, Stanza 250. 
 
 From the old Italian word rigolo, a small wheel, Shakespeare 
 fashioned the term " rigol," to express a ' circle ' or ' circlet.' 
 
 Light thickens ; and the crow 
 Makes wing to the rooky wood. — Macb., iii. 2. 
 
 The poet has framed the word "rooky" to express 'abounding in 
 rooks,' ' with trees in which the rooks build,' ' where there is a 
 rookery.' This expression has been strangely misunderstood ; while, 
 to our mind, it seems replete with picturesque and self-evident 
 meaning. 
 
 Because that now it lies you on to speak 
 
 To the people ; not by your own instruction, 
 
 Nor by the matter which your heart prompts you, 
 
 But with such words that are but rated in 
 
 Your tongue, though but bastards, and syllables 
 
 Of no allowance, to your bosom's truth. — Coriol., iii. 2. 
 
 Shakespeare fabricated the condensed word " roted," to express 
 ' retained by rote,' ' acquired by rote and held ready for conventional 
 utterance.' 
 
 Diana's lip is not more smooth and rubious. — Tw. N., i. 4. 
 From the Latin word rubeus, ' ruddy,' and from the gem called 
 ' ruby,' Shakespeare devised the exquisite word " rubious " to convey 
 the sense of ' ruddy,' ' ruby-red.' 
 
 Those happy smileis. 
 That play'd on her ripe lip, seem'd not to know 
 What guests were in her eyes. — Lear, iv. 3. 
 
 We owe to Shakespeare's need of an expressive and poetical word 
 in this passage, descriptive of a tender daughter struggling with her 
 tears and striving to retain patient submission amid her sorrow, the 
 beautiful diminutive " smilets," which so well designates attempted 
 smiles, half smiles. 
 
 To find a place where all distress is siel'd. — Lucrece, Stanza 207. 
 Mine eye hath play'd the painter, and hath stel'd 
 Thy beauty's form in table of my heart. — Sonnet 24. 
 
 Shakespeare has fashioned the expressive word " stel'd " (partlv 
 perhaps in reference to " stell," ' a fixed place of abode,' and partly 
 
COINED WORDS. 6i 
 
 perhaps in reference to "stile," 'an implement used by artists') to 
 imply ' fixed,' ' graven.' [For his usage in this respect, see Varied 
 Meanings, &c.] 
 
 The sea, with such a storm as his bar? head 
 
 In hell-black night endur'd, would have buoyed up, 
 
 And quench'd the stelled fires. — Lear, iii. 7. 
 
 From the Latin stella, ' star,' and perhaps also in reference to the 
 above-mentioned word " stell," the poet framed the poetical epithet 
 " stelled," to express ' starry,' ' stationed in the firmament.' 
 
 Forward, not permanent, sweet, not lasting, 
 
 The perfume and suppliance of a minute. — Hamlet, i. 3. 
 
 Shakespeare fabricated the word " suppliance " to express concisely 
 that which is supplied. 
 
 With those legions 
 Which I have spoke of, whereunto your levy 
 Must be supplyant. — Cym., iii. 7. 
 
 And the word " supplyant '' to condensedl}' express ' contributive of 
 supplies.' 
 
 And I will never fail beginning nor supplyment. — Ibid., iii. 4. 
 
 And the word " supplyment" to express ' continued suppl}'.' 
 
 Bring them, I pray thee, with imagin'd speed 
 Unto the Tranect, to the common ferry 
 Which trades to Venice. — Mer. of V., iii. 4. 
 
 Shakespeare may have heard the word " Tranect " from some one 
 acquainted with a local peculiarity ; or he may have fashioned it 
 himself either from the Italian tragheito, 'ferry,' or from the Latin 
 and Italian tranare, to ' swim,' ' sail,' or ' pass over.' Inasmuch 
 as the Italian tranare or trainare also means to draw or drag, it is 
 possible that the Italian ferry-boat formerly was drawn through the 
 water by means of a process still in use in some places, and which 
 we once saw at Rotterdam, where a ferry-boat was made to traverse 
 the stream, by a man on board laying hold of a rope strained across 
 the canal for the purpose. 
 
 How now! what noise? That spirit 's possess'd with haste 
 
 That wounds the unsisting postern with these strokes. — il.for il., iv. 2. 
 
 From the Latin sister e, ' to stand still,' Shakespeare formed the 
 epithet " unsisting," to express ' unstill,' ' never-resting.' [See his 
 fabrication of the word " insisture," as explained on page 58.] 
 
 Now, by the jealous queen of heaven, that kiss 
 I carried from thee, dear ; and my true lip 
 Hath virgin'd it e'er since. — Coriol., v. 3. 
 
 It well became Shakespeare, the most passionate and delicate-souled 
 of poets, to invent this expression " virgin'd," as implying ' held 
 sacredly and chastely and exclusively.' 
 
 There are some words which Shakespeare has coined for the sake of 
 humorous effect : — 
 
 One Bardolph, ifyour majesty know the man: his face is all btibukles, and whelks, 
 and knobs, and flames o' fire. — H. V., iii. 6. 
 
6'^ THE SHAKESPEARE KEY. 
 
 " Bubukles " is facetiously compounded from the French word bube, 
 a blotch or sore, and from the word ' buccal ' (pertaining to the cheek ; 
 Latin, bucca, the cheek), to signify a cheek-blotch. 
 
 If you see this in the map of my microcosm, follows it that I am known well enough 
 too? what harm can your bisson conspectuitics glean out of this character, if I be 
 known well enough too ? — Coriol., ii. i. 
 
 " Conspectuities " is fabricated from the Latin conspectus, 'sight,' 
 ' view.' 
 
 His heart is fracted and corroborate. — H. V., ii. 2. 
 
 " Corroborate " is Pistol's blunder for some grand word that he 
 intends to match with the choice expression, "fracted"; and he pos- 
 sibly means to say either ' corrodiate ' or ' corollorate.' If he mean 
 to say ' corrodiate,' signifying ' eaten away as by rust,' his mistake 
 would have the doubly comic effect of saying precisely the contrary to 
 what he intends, since "corroborate" really means 'confirmed,' 
 ' strengthened,' ' established ' ; but if he use " corroborate " for 
 ' corollorate ' (from " corollary,'' which, besides meaning ' a surplus 
 or crowning quantity,' as used by Shakespeare in the "Tempest," 
 act iv., sc. I., means also 'a conclusion'), he intends to convey the 
 effect of ' brought to a conclusion,' ' done for.' 
 
 You have made fair hands, 
 You and your crafts ! you have crafted fair ! — Coriol., iv. 6. 
 
 A noun thus fashioned into a verb is not only characteristic of 
 ■Menenius — who is famous for the jocose fabrication of words — but is 
 a colloquial usage in the English language. 
 
 This place is too cold for hell. I '11 devil-porter it no farther. — Macb., ii. 3. 
 
 He has as many friends as enemies; which friends, sir, as it were, durst not, look 
 you, sir, show themselves, as we term it, his friends whilst he's in directitude. — 
 Directitude ! What's that.' — Coriol., iv. 5. 
 
 The Third Servant, wishing to use a fine long word, and intending to 
 coin some such term as ' discreditude ' or ' dejectitude,' blunders out 
 his grandiloquent " directitude " ; which the First Servant, not com- 
 prehending, repeats amazedly and asks the meaning of ; but the Third 
 Servant being at a loss to explain, avoids the inquiry by running on 
 with his harangue. 
 
 Lord Angelo dukes it well in his absence. — M.for M., iii. 2. 
 The most sovereign prescription in Galen is but empiricutic, and, to this preservative, 
 of no better report than a horse-drench. — Coriol., ii. i. 
 
 Menenius uses " empiricutic " as a droll form of ' empirical.' 
 
 He says his name is Master Fer. — Master Fer! I 'Wfer him, and firk him, and ferret 
 him. — H. v., iv. 4. 
 
 They fought together, but Aufidius got off. — And 'twas time for him too, I 'II warrant 
 him that: an he had stayed by him, I would not have been so Jidiused ioi all the chests 
 in Corioli. — Coriol., ii. i. 
 
 Loved me above the measure of a father ; 
 
 Nay, godded me, indeed. — Ibid., v. 3. 
 
 Oh, base Gongarian wight I — Merry 17., i. 3. 
 
 Ancient Pistol's sounding substitution for ' Hungarian ' ; which was 
 a term of reproach, as the gipsies came from Hungary and Bohemia, 
 
COINED WORDS. 63 
 
 and thus it was synonymous with ' vagabond ' as well as (punningly) 
 with a hungry, beggarly fellow. 
 
 Dost thou infamonize me among potentates ? — Love's L. L., v. 2. 
 Don Armado magniloquently frames the word " infamonize," to 
 express ' defame,' ' render me infamous,' 
 
 You are grand-jurors, are ye ? We 'Wjure ye, i' faith. — i H. IV., ii. 2. 
 He, in good time, must his lieutenant be. 
 
 And I (God bless the mark!), his Moorship's ancient. — 0th., i. i. 
 It out-hcrods Herod ; pray you, avoid it. — Hamlet, iii. -i. 
 Then is there here one Master Caper, at the suit of Master Three-pile the mercer, 
 for some four suits of peach-coloured satin, which now peaches him a beggar. — 
 M. for M., iv. 3. 
 
 The Clown employs the verb " peaches " as a quibble on the peach- 
 coloured satin " and as. a familiar form of ' impeaches.' 
 
 How fiery and forward our pedant is ! 
 
 Now, for my life, the knave doth court my love. 
 
 Pedascule^ I '11 watch you better yet. — Tarn of S., iii. i. 
 
 Hortensio fabricates " pedascule " as a scoffing repetition of " pe- 
 dant," implying (in Latinised form) that he mentally foots or kicks 
 him with the utmost ignominy. 
 
 Yet heard too much of Phebe's cruelty. — 
 
 She Phebes me: mark how the tyrant writes. — As You L., iv. 3. 
 
 Thou 'rt an emperor, Caesar, Keisar, and Pheezar. — Merry W., i. 3. 
 The Host jocularly invents the term "Pheezar" from the verb 
 ' pheeze ' (to vex, worry, or harry), in order to denote FalstafFs vexed 
 state of mind and to make a jingle with " Csesar " and " Keisar." 
 
 Come, Mother Prat ; come, give me your hand. — I '11 prat her. Out of my door, you 
 witch, you rag, you baggage, you polecat, you ronyon ! Out, out ! I '11 conjure you, I '11 
 fortune-tell you. — Ibid., iv. 2. 
 
 I' faith, sweetheart, methinks now you are in an excellent good temperality : your 
 pulsidge beats as extraordinarily as heart would desire. — 2 H. IV., ii. 4. 
 
 Hostess Quickly's word " temperality" gives the effect of a combined 
 or optional meaning of ' temperament ' and ' temperature ' ; while her 
 word ' pulsidge ' for ' pulse ' aids to convey an impression of ful- 
 ness that is extremely apt. 
 
 How now, how now, chop-logic I What is this ? 
 
 Proud — and I thank you — and, I thank you not ; 
 
 And yet not proud : mistress minion, you. 
 
 Thank me no thankings, not proud me no prouds. — R. &• yul., iii. 5. 
 
 Take your vizaments in that. — Merry W., i. 1. 
 
 Sir Hugh Evans's Welsh says, " vizaments," intending to fashion 
 the word ' advisements,' as a term expressive of consideration, 
 circumspection. 
 
 There are some words, coined from their expressive sound, which 
 Shakespeare's excellent taste and judgment caused him to adopt in 
 passages where they give spirited effect : — 
 
 For gnarling sorrow hath less power to bite 
 
 The man that mocks at it, and sets it light.— i?. II., i. 3. 
 
 Thus is the shepherd beaten from thy side. 
 
 And wolves are gnarling who shall gnaw thee first. — 2 H. VI., iii. i. 
 
64 THE SHAKESPEARE KEY. 
 
 If I go to him, with my armed fist 
 
 I'll pash him o'er the face. — Tr. & Cr., ii. 3. 
 
 And stands colossus-wise, waving his beam, 
 
 Upon the pashed corses of the kings — Ibid., v. 5. 
 I '11 patch at him some way. — Coriol., i. 10. 
 
 He '11 go, he says, and sowle the porter of Rome gates by the ears. — Ibid., iv. 5. 
 As young as I am, I have observed these three swashers. — H. V., iii. 2. 
 We '11 have a swashing and a martial outside. — As You L., i. 3. 
 Gregory, remember thy swashing blow. — R. &• Jul., i. i. 
 
 For she had a tongue with a tang. 
 
 Would cry to a sailor, '■ Go hang !" — Temp., ii. 2 (Song). 
 Let thy tongue tang arguments of state. — Tw. N., ii. 5 (Letter). 
 
 And like a dog that is compelled to fight. 
 
 Snatch at his master that doth tarre him on. — John, iv. i. 
 
 Two curs shall tame each other : pride alone 
 
 Must tarre the mastiffs on, as 'twere their bone. — Tr. &• Cr., i. 3. 
 The nation holds it no sin to tarre them to controversy.— HaHi/^i, ii. 2. 
 It comes to pass oft, that a terrible oath, with a swaggering accent sharply twanged 
 off, gives manhood more approbation than ever proof itself would have earned him. — 
 Tm. N., iii. 4. 
 
 Sometimes a thousand twangling instruments 
 
 Will hum about mine ears. — Temp., iii. 2. 
 
 While she did call me rascal fiddler 
 
 And twangling Jack. — Tarn, of S., ii. i. 
 
 The exhalations, whizzing in the air. — yul C, ii. i. 
 
 To have a thousand with red burning spits 
 
 Come whizzing in upon them. — Lear, iii. 6. 
 
 There are a few peculiar words retained in most editions of 
 Shakespeare, because they are the words printed in the first folio 
 edition, and because they may possibly be the author's original 
 expressions, coined by himself: — 
 
 And soberly did mount an arm-gaunt steed. — Ant. &• C, i. 5. 
 
 Upon my secure hour thy uncle stole. 
 
 With juice of cursed hebenon in a vial. 
 
 And in the porches of mine ears did pour 
 
 The leperous distilment. — Hamlet, i. 5. 
 
 You are abus'd, and by some putter-on, 
 
 That will be damn'd for't ; would I knew the villain, 
 
 I would land-damn him. — W. T., ii. 1. 
 
 If these three words be indeed Shakespeare's coinage, they may 
 have been meant by him to signify thus : "Arm-gaunt " may be taken 
 to convey the idea of ' gaunt from long being clad in armed caparisons, 
 and from long bearing an armed rider'; " hebenon" may be accepted 
 as a form of henbane (the oil of which, according to Pliny, disturbs 
 the brain), or of ' ebony' (which was believed to possess soporific 
 and poisonous qualities); and "land-damn" has been supposed to 
 be a mode of succinctly expressing, either ' condemn to quit the land,' 
 or ' doom to the torture of being banked up in earth and left to die.' 
 
corNS. 
 
 COINS. 
 
 In Shakespeare's Works mention is made of several different coins 
 formerly current ; some of which have furnished him with occasion for 
 a play upon the word : — 
 
 Noble, or not I for an angel [a gold coin, worth about ten shillings]. — 
 ;,/. Ado, ii. 3. 
 
 They have in England a coin, that bears the figure of an angel stamped in gold 
 but that 's insculped upon. — Mer. of V., ii. 7. 
 
 This bottle makes an angel. — i H. IV., iv. z. 
 
 She has all the rule of her husband's purse ; he hath a legion of angels. . . 
 humour me the angels. — Merry W., i. 3. 
 
 I had myself twenty angels given me this morning; but I defy all angels. . but 
 in the way of honesty. — Ibid., ii. z. 
 
 Here are the angels that you sent for, to deliver you. — Conu of E., iv. 3. 
 
 When his fair angels would salute my palm. — jfohn, ii. 2. 
 
 See thou shake the bags of hoarding abbots; imprisoned angels set at iberty. — 
 Ibid., iii. 3. 
 
 Three or four thousand cheqtiins [a coin of Italy, and also of Barbary ; its original 
 name, zecchini, being derived from zecca, a mint. The zecchino was a gold coin of 
 Venice, worth about seven or eight shillings] were as pretty a proportion. — Per., iv. 3. 
 
 Yet I should bear no cross [a coin (of which there were several, various in value) 
 bearing the mark of a cross upon it], if I. — As You L., ii. 4. 
 
 He speaks the mere contrary — crosses love not him-^Low^'s L. L., i. 2. 
 
 Not a penny ; you are too impatient to bear crosses. — 2 H. IV., i. 2. 
 
 I had rather have lost my purse full of cruzadoes [Portuguese coins, of which there 
 were three sorts ; one with a long cross, one with a short cross, and one with the 
 great cross of Portugal. They were of gold, and varied in value from six shillings and 
 eightpence to nine shillings]. — 0th., iii. 4. 
 
 You will not pay for the glasses you have burst ? — No, not a denier [an old French 
 coin ; value, the twelfth part of a sou, or halfpenny. It came to be used for expressing 
 the lowest imaginable fraction of money]. — Tarn, of S., Indue, i. 
 
 I '11 not pay a denier. — i H. IV., iii. 3. 
 
 My dukedom to a beggarly denier, I do mistake. — R. III., i. 2. 
 
 When they will not give a doit [a small coin, value the eighth part of a penny. Dutch. 
 duyt; French, d'huit]. — Temp., ii. 2. 
 
 And take no doit of usance for my moneys. — Mer. of V., i. 3. 
 
 That doit that e'er I wrested from the king. — 2 H. VI., iii. i. 
 
 Cushions, leaden spoons, irons of a doit, doublets. — Coriol., i. 5. 
 
 On a dissension of a doit, break out to bitterest enmity. — Ibid., iv. 4. 
 
 This morning for ten thousand of your throats I 'd not have given a doit. — Ibid., v. 4. 
 
 Plain-dealing, which will not cost a man a doit. — Timon, i. 1. 
 
 I cannot be bated one doit of a thousand pieces. — Per., iv. 3. 
 
 Most monster-like, be shown for poor'st diminutives, for doits. — Ant. &• C, iv. 10. 
 
 A dollar [a Dutch and German coin ; value from about two shillings and sixpence 
 to four shillings and sixpence. The original name was thaler, from thale, a dale or 
 valley; the coin having, it is said, been first coined in the valley of St. Joachim]. Dolour 
 comes to him, indeed : you have spoken truer than. — Temp., ii. i. 
 
 To three thousand dollars a yezT.—M.for M., i. 2. 
 
 Ten thousand dollars to our general use. — Macb., i. 2. 
 
 That do prize their hours at a crack'd drachm ! [A contracted form of drachma : which 
 was an old Grecian coin, used also in Rome, worth four sesterces, about sevenpence 
 
 F 
 
66 THE SHAKESPEARE KEY. 
 
 There were silver drachmas and brass drachmas ; one of the latter probably being here 
 intended.] — Coriol., i. v. 
 
 To every several man, seventy-five drachmas.- — jful. C, iii. 2. 
 
 I 'had rather coin my heart, and drop my blood for drachmas, — Ibid., iv. 3. 
 
 No, not so much as a ducat [a coin so named from having originally been minted by 
 dukes. A silver ducat was worth about four shillings and sixpence ; a gold ducat, nine 
 shillings and sixpence] for delivering your letter. — Two G. of V., i. i. 
 
 But fare thee well ; there is a ducat for thee. — Mer. of F., ii. 3. 
 
 Three thousand ducats — well. — Ibid., i. 3. 
 
 Be cunning in the working this, and thy fee is a thousand ducats. — M. Ado, ii. 2. 
 
 Who, wanting gilders [sometimes spelt ' guilder ' ; worth from one shilling and six- 
 pence to two shillings] to redeem their lives. — Com. of E., i. i. 
 
 But that I am bound to Persia, and want gilders tor my voyage. — Ibid., iv. 1. 
 
 A half-fac'd groat [a silver groat worth fourpence with the king's profile on it : 
 the custom previously having been to give the monarch's countenance as a full face] 
 five hundred pounds a-year ! — John, i. i. 
 
 There is a groat to heal your pate. — Me a groat ! . . . I take thy groat in earnest 
 of revenge. — H. V., v. i. 
 
 What money is in my purse ? — Seven groats and twopence. — 2 H. IV., i. 2. 
 
 As fit as ten groats for the hand of an attorney. — All's W., ii. 2. 
 
 And here is four Harry ten shillings [a coin of this value in the reigns of Henry VII. 
 and Henry VIII., bearing the head of the sovereign upon it; and Shakespeare allows 
 the word " Harry " here to pass for signifying Henry IV.] in French crowns [coins 
 stamped with a crown, and worth five shillings] for you. — 2 H. IV., iii. 2. 
 
 I have lost a seal-ring of my grandfather's worth forty mark [a mark was a coin 
 worth thirteen shillings and fourpence]. — i H. IV., iii. 3. 
 
 A hundred mark is a long one for a poor lone woman. — 2 H. IV., ii. i. 
 
 A hundred marks, my Kate does put her down. — Tarn, of S., v. 2. 
 
 Full thirty thousand marks of English coin. — John, ii. 2. 
 
 Of seven groats in mill-sixpences [coins that were the first milled money made in 
 England, and which were frequently used for counters]. — Merry W., i. i. 
 
 Moy [supposed to be a contraction of 'moidore'; a Portuguese coin, worth about 
 twenty-seven shillings] shall not serve ; I will have forty mays ; ... is that a ton of 
 moys ? — H. V., iv. 4. 
 
 I shall have my eight shillings I won of you at betting ? — A noble [a coin worth six 
 shillings and eightpence] shalt thou have, and present pay. — Ibid., ii. i. 
 
 Hail royal [there was a coin thus called, worth ten shillings] prince ! — 
 
 Thanks, noble peer ; 
 The cheapest of us is ten groats too dear. — R. II., v. 5. 
 
 Great promotions 
 Are daily given to ennoble those 
 That scarce, some two days since, were worth a noble. — R. III., i. 3. 
 
 Nor thou earnest not of the blood royal, if thou darest not stand for ten shillings. — 
 I H. IV., i. ^. 
 
 My lord, there is a noblemaxi of the court at door would speak with you : he says he 
 comes from your father. — Give him as much as will make him a royal man, and send 
 him back again. — Ibid., ii. 4. 
 
 Item bread ob. [the abbreviated form of obolum, the Greek word for a small 
 
 coin ; which abbreviation was used in Shakespeare's time as the mode of stating a 
 halfpenny]. Oh, monstrous ! but one halfpenny worth of bread. — Ibid., ii. 4. 
 
 Sir, for a quart d'ecu [a French coin, known in England, where it was sometimes 
 spelt ' cardecue.' It means ' quarter of a crown ; ' and some authorities state it to 
 have been the fourth part of the French gold crown, when it was worth eighteenpence : 
 while others say that it was a fourth of the smaller French crown, and worth eight- 
 pence] he will sell the fee-simple of his salvation.— .4 H's W., iv. 3. 
 
CORRUPTIONS. 67 
 
 There 's a quart d'ecu for you. — All's W., v. 2. 
 
 And two Edward shovel-boards [the broad shillings of Edward VI., used at the 
 game of shovel-board or shuffle-board], that cost me two shillings and twopence 
 a-piece of Yead Miller. — Merry W., i. 1. 
 
 Quoit him down, Bardolph, like a shove-groat shilling. [At the game of " shoye- 
 groat " smooth coins, such as silvfir groats or shillings, were in great request for playing 
 with ; and were named in reference to the game at which they were used.] — 
 2 H. IV., u. 4. 
 
 Here's three solidares [believed to be coins, the name of which was originally 
 derived from the Latin, solidatus, a soldier in pay] for thee : good boy, wink at me, 
 and say. — Timon, iii. 1. 
 
 Tester [' sixpence ' : the original French coin was so called, from its bearing a head 
 — teste, or tcte — upon it] I'll have in pouch, when thou shalt lack. — Merry W., i. 3' 
 
 Hold, there 's a tester for thee. — 2 H. IV., iii. 2. 
 
 Come on ; there is sixpence for you ; let 's have a song. — There 's a testril of me 
 too. — Tw. N., ii. 3. 
 
 My face so thin. 
 That in mine ear I durst not stick a rose. 
 Lest men should say, " Look, where three-farthings 
 [small thin pieces of silver worth this much were coined by Queen Elizabeth, bearing 
 her face and the emblematic rose of England on them ; and it was a court mode for 
 fashionable gallants, as well as ladies, to wear a rose stuck behind the ear] 
 
 CORRUPTIONS. 
 
 In Shakespeare's plays we meet with several purposed corruptions of 
 words ; either to indicate familiar and popular mode of parlance in a 
 contracted form of word, or to mark blundering diction on the part of 
 some ill-educated speaker [See Pronunciation], or for the sake of a 
 humorous rhyme, or as producing facetious effect. 
 
 I 've heard him utter to his son-in-law, 
 
 hord Aberga'ny I ' Abergavenny ' : See Elisional Abbreviations] . — H. VIII., i. 2. 
 
 Come apace, good Audrey [' Ethelreda '] : I will fetch up your goats, Audrey. 
 And how, Audrey ? am I. — As You L., iii. 3. 
 
 I think he be, but goodman Puff of Barson [' Barston ']. — 2 H. IV., v. 3. 
 
 Slack the bolins [' bow-lines '] there ! Thou wilt not.. — Per., iii. i. 
 
 You have brought her into such a canaries [' quandary ' : which is itself a cor- 
 ruption of the French phrase, qu'en dirai-je] . . . could never have brought her to 
 such a canary [' quandary']. — Merry W., ii. 2. 
 
 Whose club killed Cerberus, that three-headed canus [' canis ']. — Love's L. L., v. ■^, 
 
 I will be cheater [' escheator '] to them both, and they. — Merry W., i. 3. 
 
 Cheater, call you him ? I will bar no honest man my house, nor no cheater ; but I 
 do not love swaggering. — 2 H. IV., ii. 4. 
 
 I heard say, he was outrun on Cotsall [' Cotswold ']. — Merry W., i. 1. 
 
 The crowtier [' coroner'] hath set on her, and finds it.— Hamlet, v. 1. 
 
 Ay, marry, is 't ; crowner's [' coroner's '] quest law. — Ibid., v. i. 
 
 Or the red-nose innkeeper at Daintry * [' Daventry ']. — i H. IV., iv. 2. 
 
 ■* It is a moot point whether the corrupt form or the correct form was here used by 
 Shakespeare ; as the folio prints the word in this passage, " Dauintry." 
 
 F 2 
 
68 THE SHAKESPEARE KEY. 
 
 By this at Daintry, with a puissant troop. — 3 H. VI., v. 1. 
 
 Can you do it ? — Dexteriottsly [' dexterously '], good Madonna. — Tw. N., i. 5. 
 
 ■\yhy, your dolphin [' dauphin '] is not lustier. — AWs W., ii. 3. 
 
 Pucelle or puzzel, dolphin * or dog-fish. — i H. VI., i. 4. 
 
 Dolphin, my boy, my boy, sessa ! let him trot by. — Lear, iii. 4. 
 
 I could play Ercles ['Hercules'] rarely, . . . This is Erclcs' vein, a tyrant's 
 vein. — Mid. N. D., i. 2. 
 
 Since my exion f [' action '] is entered, and my case. — 2 H. IV., ii. i. 
 
 She 's asfariuous [' virtuous '] a civil modest wife. — Merry W., ii. 2. 
 
 Infected with the fashions [' farcins' or ' farcy ']. — Tarn, of S., iii. 2. 
 
 I have not seen such afirago [' virago']. — Tw. N., iii. 4. 
 
 Past cure o{ the fives ['vives'], stark spoiled. — Tarn, of S., iii. ^. 
 
 Captain Fluellen [' Lluellen ' or ' Llewellyn'], you must come. — H. V., iii. 2. 
 
 When the wind is southerly, I know a hawk from a handsaw [' hernshaw ' ] . — 
 Hamlet, ii. ^. 
 
 The papist, howsome'er [' howsoe'er'], their hearts are. — All's W., i. 3. 
 
 But he 's the very devil incardinate [' incarnate']. — Tw. N., v. 1. 
 
 Art thou good at these kickshaws [' quelque choses'], knight ? — Tw. N., i. 3. 
 
 And any pretty little tiny kickshaws, tell. — 2 H. IV., v. i. 
 
 Every 'leven [' eleven '] wether tods ; every tod yields. — W. T., iv. 2. 
 
 And, like Limander [' Leander'], am I trusty still. — 
 
 And I like Helen [meaning ' Hero'], till the Fates. — Mid. N. D., v. i. 
 
 And the receipt of reason a limbeck [' alembic'] only. — Macb., i. 7. 
 
 To the Lubbar's ['libbard's' or 'leopard's'], in Lumbert ['Lombard'] Street. — 
 zH.IV.,\\. I. 
 
 And how doth the martlemas [' Martinmas '], your master ? — Ibid., ii. 2. 
 
 What night-rule [night-revel] now about this haunted grove ? — Mid. N. D., iii. 2. 
 
 I '11 meet thee, Pyramus, at Ninny's [' Ninus '] tomb. — Ibid., iii. i. 
 
 Wilt thou at Ninny's tomb meet me straightway? — Ibid., v, i. 
 
 How, now, nuncle ! [uncle] . . . Mark it, nimcle. — Lear, i. 4. 
 
 Swithold [' Saint Withold'j footed thrice the old ['wold']. — Ibid., iii. 4 (Song). 
 
 Burgomasters, great oneyers [' ones ; ' as ' one-ers ' in modern familiar phraseology. 
 There seems formerly to have been a fashion of introducing a y into a word, for 
 jocular effect; as may be seen in "Yedward," subsequently cited here], such as can 
 hold in.— I H. IV., ii. ±. 
 
 By'rlakiti [by our lady kin] aparlous [' perilous'] fear. — Mid. N. D., iii. x. 
 
 Thou art in Sl parlous state, shepherd. — As You L., iii. z. 
 
 A parlous boy: go to, you are too shrewd. — R. III., ii. 4. 
 
 O, 'tis a. parlous boy; bold, quick, ingenious. — Ibid., iii. i. 
 
 A parlous knock; and it cried bitterly. — R. &• yul., i. 3. 
 
 "Was parmaceti ['spermaceti') for an inward bruise. — i H. IV., i. 3. 
 
 Then he's a rogue and a passy-measures ['passamezzo'] pavin : I hate a drunken 
 rogue. — Tw. N,, v. i. 
 
 If I be ta'en, I '11 peach [' impeach'] for this. — i H. IV., ii. 2. 
 
 Which now peaches ['impeaches '] him a beggar. — M.for M., iv. 3. 
 
 ' In both these two first passages wherein the word " dolphin " is used, it is pun- 
 ningly employed ; as the name of the fish so-called, and as the popular corrupted form 
 of " Dauphin." 
 
 t That in this same scene Hostess Quickly pronounces " action " correctly is 
 consistent with Shakespeare's mode of making such variations in the diction of 
 imperfect speakers [See Variations] ; also " canaries " and " canary " above cited. 
 
CROSSING SPEECHES. 6g 
 
 God give you good-morrow, master person [' parson ']■ — Master /«rjoM, — quasi 
 pers-on. An if one should he pierced [This passage aids in showing how "pers" and 
 '"pierce" were often pronounced alike. See "Percy" and "pierce" under Pro- 
 nunxiation], which is the. one ? — Love's L. L., iv. 2. 
 
 And Phibbiis' [' Phoebus '] car shall shine.— Mid. N. D., i. 2. 
 
 But his phisnomy [' physiognomy 'J is more hotter. — All's W., iv. 5. 
 
 They call themselves saltiers [' satyrs '], and they. — W. T., iv. 3. 
 
 Not Shafalus [' Cephalus '] to Procrus [' Procris '] was so true. — 
 
 As Shafalus to Procrus, I to you. — Mid. N. D., v. i. 
 
 No; to the spital ['hospital'] go. — H. V., ii. 1. 
 
 News have I, that my Nell is dead i' the spital. — Ibid., v, i, 
 
 She, whom the spital-honse and ulcerous sores. — Timon, iv. 3. 
 
 Dost thou sqtdny [' squint '] at me ? — Lear, iv. 6. 
 
 If he by chance escape your venomed jfacA ['stock:' from the Italian, 'stoccata'], 
 our purpose may hold there. — Hamlet, iv. 7. 
 
 And he gives me the stuck-in, with such a. — Tw. N., Hi. 4. 
 
 I swoonded [' swooned '] at the sight. — R. &• Jul., Hi. 2. 
 
 To lure this tassel [' tiercel ' or ' tercel '] -gentle back. — Ibid., ii. 2. 
 
 For I am his grace's tharborough ['third borough']. — Love's L. L., i. i. 
 
 TMsne, Thisne ['Thisbe'].— Ah, Pyramus.— Mjrf. N. D., i. 2. 
 
 As pale as any clout in the varsal [' universal '] world. — R. &• Jul., ii. 4. 
 
 Take your vizaments [' advisements '] in that. — Merry W., i. i. 
 
 Marian Racket, the fat ale-wife of Wincot [' Wilmecote,' or ' Wilnecote ']. — Tarn, of 
 S., Indue, 2. 
 
 To countenance William Visor of Wincot* against. — 2 H. IV., v. i. 
 
 Two shilling and twopence a-piece of Yead [' Ned ' or ' Edward '] Miller, by these 
 gloves. — Merry W., i. i. 
 
 Hear ye, Yedward [' Edward '] ; if I tarry. — i H. IV., i. 2. 
 
 In the First Folio, the following passages contain words that are 
 printed so as to afford the possibility that familiar corrupted verbal forms 
 were intended ; but in our editions of Shakespeare's works we have not 
 preserved these corruptions in the text, believing them to have been 
 merely the printer's error, and not the author's originating:^ 
 
 Take sixpence in earnest of the berrord ['bear- ward']. — M. Ado, ii. i 
 And manacle the berard in their chains . . . despite the bearard that protects the 
 bear. — 2 H. VI., v. 1. 
 Where is the master, boson [' boatswain ']. — Temp, i., i. 
 
 CROSSING SPEECHES. 
 
 In the course of Shakespeare's plays we meet with several instances 
 of dialogue where a speech is made not in sequence with words uttered 
 immediately preceding it ; but either in reply to something said a short 
 time before, or in a return to that of which the speaker has been 
 
 * In this passage the First Folio prints " Woncot " ; but it is probable that in both 
 instances the same familiar abbreviation of the village near to Stratford-upon-Avon 
 was intended by Shakespeare. 
 
7° THE SHAKESPEARE KEY. 
 
 previously thinking. An extremely natural, and therefore extremely 
 dramatic, effect is thus produced : — 
 
 Gonzalo [to Alonzo). Sir, we were talking, that our garments seem now as fresh as 
 wheii we were at Tunis at the marriage of your daughter, who is now queen. 
 Antonio. And the rarest that e'er came there. 
 Sebastian. Bate, I beseech you, widow Dido. 
 Antonio. 0, widow Dido; ay, widow Dido. 
 
 Gonzalo (to Alonzo). Is not, sir, my doublet as fresh as the first day I wore it ? I 
 mean, in a sort. 
 Antonio. That sort was well fished for. 
 Gonzalo [to Alonzo). When I wore it at your daughter's marriage : 
 
 Alonzo. You cram these words into mine ears, against 
 The stomach of my sense. Would I had never 
 Married my daughter there !—Temp., ii. i. 
 
 Ferdinand. Miranda. We wish your peace, [Exeunt. 
 
 Prospero (to Ariel). Come with a thought. (To them) I thank you. 
 
 Ibid., iv. I. 
 Duke. No might nor greatness in mortality 
 Can censure 'scape ; back-wounding calumny 
 The whitest virtue strikes. What king so strong, 
 Can tie the gall up in the slanderer's tongue ? 
 But who comes here ? [Enter Escalus, &c.] — M.for M., iii. 2. 
 Mariana. Will 't please you walk aside ? [Exit with Isabella. 
 
 Duke. O place and greatness ! millions of false eyes 
 Are stuck upon thee ! volumes of report 
 Run with these false and most contrarious guests 
 Upon thy doings ! thousand escapes of wit 
 Make thee the father of their idle dream. 
 And rack thee in their fancies ! — Ibid., iv. 1. 
 
 It will be perceived that the above two passages, although in differ- 
 ent scenes, are but one and the same soliloquy ; the second being a 
 resumption of the first, which was broken off by the entrance of 
 Escalus, &Q. 
 
 Don John. Sir, they are spoken, and these things are true. 
 Benedick. This looks not like a nuptial. 
 
 Hero. True 1 O God !— M. Ado, iv. 1. 
 
 Portia. You must take your chance ; 
 
 And either not attempt to choose at all. 
 Or swear before you choose, if you choose wrong 
 Never to speak to lady afterward 
 In way of marriage : therefore be advis'd. 
 Morocco. Nor will not. — Mer. of V., ii. 1. 
 Helena. If the living be enemy to the grief, the excess makes it soon mortal. 
 Bertram. Madam, I desire your holy wishes. 
 Lafeu. How understand we that ? — All's W., i. 1. 
 
 The First Folio (often deplorably erroneous in prefixes) assigns 
 Helena's speech to the Countess, in whose mouth it has no signifi- 
 cance ; whereas, in Helena's mouth it is characteristically veiled in 
 expression, yet clear to those who are aware of her secret affection 
 for Bertram, — meaning, ' if the living man I love, dislike me and my 
 grief, its excess will soon kill me.' Lafeu, who is not possessed of her 
 secret, finds her speech enigmatical, and exclaims, "How understand 
 we that?" 
 
 Lafeu. Lustick, as the Dutchman says . . . why, he 's able to lead her a coranto. 
 
 Parolles. Mort du vinaigre ! Is not this Helen ? 
 
 Lafeu. 'Fore God, / think so. — Ibid., ii. 3. 
 
CROSSING SPEECHES. 71 
 
 First Lord. Go, tell the Count Rousillon and my brother, 
 We have caught the woodcock, and will keep him muffled 
 Till we do hear from them. 
 
 Second Soldier. Captain, I will. 
 
 First Lord. He will betray us all unto ourselves : 
 Inform on that. 
 
 Second Soldier.. So I will, sir. — All's W., iv. i. 
 
 The First Lord's words, " Inform on that," have been altered by some 
 commentators, who have not perceived that they are a following up of 
 the previous portion of the speech, and that " he will '' is elliptically 
 understood as repeated before "inform. " The First Lord is musing 
 upon ParoUes' answer to the words previously addressed to him, 
 " haply thou may'st inform something to save thy life"; and says he 
 will "inform" on that point — something concerning "ourselves." 
 
 King Philip. Well could I bear that England had this praise, 
 So we could find some pattern of our shame. 
 Look, who comes here ! a grave unto a soul ; 
 Holding th' eternal spirit, against her will. 
 In the vile prison of afflicted breath. 
 
 Enter Constance. 
 I pr'ythee, lady, go amay with me. 
 
 Constance. Lo, now ! now see the issue of your peace ! 
 
 King Philip. Patience, good lady 1 . . . 
 Bind up those tresses. . . . 
 Like true, inseparable, faithful loves. 
 Sticking- together in calamity. 
 
 Constance. To England, if yon will. 
 
 King Philip. Bind up your hairs. — fohn, iii. 4. 
 
 The distracted mother's apparently irrelevant speech "to England 
 &c.," is, in fact, a rejoinder to the French king's words addressed to her 
 on her entrance. At the time he uttered them, her thoughts were too 
 much engrossed to notice them; but afterwards — ^with that curious 
 operation of the memory's ear which gives the echo of a sentence 
 spoken to an absent-minded person many minutes subsequent to its 
 sound — they recur to her, and she answers them in a wild and reck- 
 less spirit of despair. By the very repetition of King Philip's words, 
 "Bind up your hairs," this is indicated; as if he would recall her to 
 the point now at issue. Our interpretation of this passage differs from 
 any given by previous commentators ; but we think our view shows it 
 in the light of one among many admirable touches whereby the poet 
 has depicted a mind bordering on frenzy in this powerfully affecting 
 scene, as in other scenes in other plays. Moreover, it is in accordance 
 with the mode which, under the present heading of Crossing Speeches, 
 we have shown to be our dramatist's, of allowing a sentence to be 
 spoken in reference to something said some time before in the dialogue. 
 This he has made a special characteristic in one of his speakers, 
 Hotspur, the impetuous-spirited, vehement-spoken man of strong 
 and sudden impulses. Witness the following examples; the first and 
 third of which afford instances of Hotspur's habit, while the second, 
 besides referring to it, shows Prince Henry falling into a similar fashion 
 for the moment himself: — 
 
THE SHAKESPEARE KEY. 
 
 Lady Percy. Oh, my good lord, why are you thus alone ? . . 
 Some heavy business hath my lord in hand. 
 And I must know it, else he loves me not. 
 
 Hotspur. What, ho ! 
 
 Enter a Servant. 
 
 Is Gilliams with the packet gone ? 
 Servant. He is. my lord, an hour ago. 
 Hotspur. Hath Butler brought those horses . . . 
 What say'st thou, my lady ? 
 
 Lady Percy. What is it carries you away ? . . 
 In faith, I '11 break thy little finger, Harry, 
 An if thou wilt not tell me all things true. 
 
 Hotspur. Away, 
 Away, you trifler ! — Love ? — / love tliee not, 
 I eare not for thee, Kate : this is no world 
 To play with mammets, and to tilt with lips. — i H. IV., ii. 3. 
 Prince Henry. I am now of all humours that have showed themselves humours, since 
 the old days of goodman Adam to the pupil age of this present twelve o'clock at 
 midnight. [Francis crosses the stage, with wine.] What 's o'clock, Francis ? 
 
 Francis. Anon, anon, sir. [E.rit. 
 
 Prince Henry. That ever this fellow should have fewer words than a parrot, and yet 
 the son of a woman ! His industry is, upstairs and downstairs ; his eloquence, the 
 parcel of a reckoning. / am not yet of Percy's mind, the Hotspur of the north ; he 
 that kills me some six or seven dozen of Scots at a breakfast, washes his hands, and 
 says to his wife, " Fie upon this quiet life ! I want work." " Oh, my sweet Harry," 
 says she, "haw many hast thou killed to-day?" "Give my roan horse a drench," 
 says he; and answers, " some fourteen," an hour after — "a trifle, a trifle." — Ibid., ii. 4. 
 
 Douglas. Thou art the king of honour : 
 No man so potent breathes upon the ground. 
 But I will beard him. 
 
 Hotspur. Do so, and 'tis well. 
 
 Enter a Messenger with letters. 
 
 W^at letters hast thou there ? (To Douglas) / can but thank you. 
 
 Ibid., iv. I. 
 Bardolph. Pray thee, go down, good ancient. 
 Falstaff. Hark thee hither. Mistress Doll. 
 
 Pistol. Not I : I tell thee what. Corporal Bardolph. — 2 H. IV., ii. 4. 
 Volumnia. Oh, he is wounded — I thank the gods for 't. 
 
 Menenius. So do I too, if it be not too much : — brings 'a victory in his pocket ? — the 
 wounds become him. 
 
 Volumnia. On 's brows : Menenius, he comes the third time home with the oaken 
 garland. — Coriol., ii. i. 
 
 Coriolanus. Hear'st thou, Mars. 
 
 Aufdius. Name not the god, thou boy of tears ! 
 Coriolanus. Ha ! 
 
 Atifidius. No more [than a boy of tears]. — Ibid., v. 5. 
 Cassius. No, it is Casca ; one incorporate 
 To our attempts. Am I not stay'd for, Cinna ? 
 Cinna. I am glad on 't. What a fearful night. — Jul. C, i. 3. 
 Bernardo. Looks it not like the king ? mark it, Horatio. 
 Horatio. Most like: it harrows me with fear. — Hamlet, i. i. 
 Horatio. Two nights together. ... A figure like your father 
 Arm'd at all points exactly, cap-a-pe, 
 Appears before them. . . . 
 
 Ham. Indeed, indeed, sirs, but this troubles me. 
 Hold you the watch to-night ? 
 Marcellus. Bernardo. We do, my lord. 
 
DEVIATING INTO VARIOUS TENSES. 73 
 
 Ham. Arm'd, say you ? 
 
 Marcellus. Bernardo. Arm'd, my lord. — Hamlet, i. 2. 
 
 Horatio. Have after. To what issue will this come ? 
 
 Marcellus. Something is rotten in the state of Denmark. 
 
 Horatio. Heaven will direct it. — Ibid., i. 5. 
 
 Polonins. He will come straight . . . 
 Pray you, be round with him. 
 
 Hamlet (within). Mother, mother, mother! 
 
 Queen. I 'II warrant you ; 
 
 Fear me not: withdraw, I hear him coming. — Ibid., iii. 4. 
 
 Duke. Whoe'er he be thai, in this foul proceeding. 
 Hath thus bcguil'd your daughter of herself , 
 And you of her, the bloody book of law. 
 You shall yourself read in the bitter letter. 
 After your own sense ; yea, though our proper son 
 Stood in your action. 
 
 Brabantio. Humbly I thank your grace. 
 
 Here is the man, this Moor^ whom now, it seems. 
 Your special mandate, for the state affairs,. 
 Hath hither brought 
 
 Duke and Senators. We are very sorry for it. 
 
 Duke (to Othello). What, in your own part, can you say to this ? 
 
 Brabantio. [He can say] Nothing, but [that] this is so. — 0th., i. 3. 
 
 Desdemona. So^ get thee gone, good night. Mine eyes do itch ; 
 Doth that bode weeping ? 
 
 Emilia. 'Tis neither here nor there. 
 
 Desdemona. I have heard it said so [that it does bode weeping] . 
 
 Ibid., iv. 3. 
 
 Iras. Royal Egypt ! 
 
 Empress ! 
 
 Charmian. Peace, peace, Iras ! 
 
 Cleopatra. Na mjire [a queen or empress], but e'en a woman. 
 
 Ant. &• C, iv. 13. 
 
 Belarius (Aside).. Oh, noble strain ! 
 
 Oh, worthiness of nature ! . . .. 
 (Aloud) 'Tis the ninth hour 0' the morn. 
 
 Arviragus.. Brother, farewell. 
 
 Imogen. I wish ye sport. 
 
 Arviragus. Tou health. So please you, sir [we are ready to attend you]. 
 
 Cym., iv. 2. 
 
 See Unfinished Sentences for somewhat similar examples of the 
 kind of naturally and dramatically crossing speeches here instanced. 
 
 DEVIATING INTO VARIOUS TENSES. 
 
 In the course of narrating an incident that has occurred, Shakespeare 
 sometimes suddenly deviates into an expression denoting actual time ; 
 so that while the majority of the verbs he uses in the speech or dialogue 
 are in the past tense, he abruptly introduces a verb in the present tense ; 
 which imparts a spirited effect to the description : — 
 
 I boarded the king's ship ; now on the beak. 
 Now in the waist, the deck, in every cabin, 
 I flam'd amazement : sometimes I 'd divide. 
 And burn in many places ; on the topmast. 
 The yards, and bowsprit, would I flame distinctly, 
 
74 THE SHAKESPEARE KEY. 
 
 Then meet, and join. Jove's lightnings, the precursors 
 
 O' the dreadful thunder-claps, more momentary 
 
 And sight-outrunning were not : the fire, and cracks 
 
 Of sulphurous roaring, the most mighty Neptune 
 
 Seem to besiege, and make his bold waves tremble. — Temp., i. 2. 
 
 She tore the letter into a thousand halfpence ; railed at herself. ..." I measure 
 him," says she, " by my own spirit." . . . Then down upon her knees she/n//i, weeps, 
 sobs, beats her heart, tears her hair, prays, cries, " Oh, sweet Benedick ! " — 
 M. Ado, ii. 3. 
 
 / have sold all my trumpery ; . . they throng who should buy first, as if my trinkets 
 had been hallowed. — W. T., iv. 3. 
 
 Their joy waded in tears. There was casting up of eyes, holding up of hands, . . . 
 Our king, . . . cries, " Oh, thy mother, thy mother ! " then asks Bohemia forgiveness , 
 then again worries he his daughter with clipping her ; now he thanks the old shepherd, 
 which stands by. — Ibid., v. 2. 
 
 She lifted the princess from the earth ; and so locks her in embracing, as if she would 
 pin her to her heart. — Ibid., v. 2. 
 
 The great supply, 
 That was expected by the Dauphin here. 
 
 Are wreck'd three nights ago on Goodwin Sands. — jfohn, v. 3. 
 I am a rogue, if I were not at half-sword with a dozen of them two hours together. 
 I have 'scaped by miracle. I am eight times thrust through the doublet. — i H.IV., ii.4. 
 
 As we were sharing, some six or seven fresh men set upon us — 
 And unbound the rest, and then come in the other. — Ibid., ii. 4. 
 Thrice from the banks of Wye 
 And sandy-bottom'd Severn have I sent him 
 Bootless home and weather-beaten back. — 
 Home without boots, and in foul weather too ! 
 How 'scapes he agues, in the devil's name }—Ibid., iii. i. 
 / have misused the king's press damnably. ... I press me none but good house- 
 holders, yeomen's sons ; inquire me out contracted bachelors. — Ibid., iv. 2. 
 
 And have the summary of all our griefs. 
 
 When time shall serve, to show in articles ; 
 
 Which, long ere this, we offered to the king. 
 
 And might by no suit gain our audience : 
 
 When we are wrong'd, and would unfold our griefs. 
 
 We are denied access unto his person. — 2 H. IV., iv. i. 
 
 Suffolk first died : and York, all haggled over, 
 
 Comes to him, where in gore he lay insteep'd. 
 
 And takes him by the beard ; kisses the gashes 
 
 That bloodily did yawn upon his face ; 
 
 And cries aloud, " Tarry, dear cousin Suffolk ! 
 
 My soul shall thine keep company to heaven ; 
 
 Tarry, sweet soul," . . . 
 
 Upon these words I came and cheer'd him up ; 
 
 He smil'd me in the face, raught me his hand. 
 
 And, with a feeble gripe, says, " Dear my lord. 
 
 Commend my service to my sovereign." 
 
 So did he turn, and over Suffolk's neck 
 
 He threw his wounded arm, and kiss'd his lips ; 
 
 And so, espous'd to death, with blood he seal'd 
 
 A testament of noble-ending love. — H. V., iv. 6. 
 
 The wretched, bloody, and usurping boar. 
 
 That spoil'd your summer fields and fruitful vines. 
 
 Swills your warm blood like wash, and makes his trough 
 
 In your embowell'd bosoms. — R. III., v. 2. 
 
 Before the sun rose he was harness'd light. 
 
 And to the field goes he. — Tr. &• Cr., i. 2. 
 
DEVIATING INTO VARIOUS TENSES. 75 
 
 She came, and puts me her white hand to his cloven chin. — Tr. &• Cr., i. 2. 
 I saw him run after a gilded butterfly ; and when he caught it, he let it go again ; 
 and after it again ; and over and over he comes, and up again. — Coriol., i. 3. 
 
 But, when I came (some minute ere the time 
 
 Of her awakening) , here untimely lay 
 
 The noble Paris, and true Romeo, dead. 
 
 She wakes ; and / entreated her come forth 
 
 And bear this work of heaven with patienci. — R. &• Jul., v. 3. 
 
 And graves have yawn'd and yielded up their dead ; 
 
 Fierce fiery warriors ^^g-Ai upon the clouds. 
 
 In ranks and squadrons and right form of war. 
 
 Which drizzled blood upon the Capitol ; 
 
 The noise of battle hurtled in the air. 
 
 Horses did neigh, and dying men did groan ; 
 
 And ghosts did shriek and squeal about the streets. — Jul. C, ii. 2. 
 
 Two nights together had these gentlemen, 
 
 Marcellus and Bernardo . . . 
 
 Been thus encounter'd. A figure like your father, 
 
 Arm'd at all points exactly, cap-a-pe, 
 
 Appears before them, and with solemn march 
 
 Goes slow and stately by them : thrice he walk'd 
 
 By their oppress'd and fear-surprised eyes. 
 
 Within his truncheon's length ; whilst they, distill'd 
 
 Almost to jelly with the act of fear. 
 
 Stand dumb, and speak not to him. This to me 
 
 In dreadful secrecy impart they did ; 
 
 And I with them the third night kept the watch : 
 
 Where, as they had deliver'd, both in time. 
 
 Form of the thing, each word made true and good, 
 
 The apparition comes. — Hamlet, i. 2. 
 
 Upon our first, he sent out to suppress 
 
 His nephew's levies ; which to him appeared 
 
 To be a preparation 'gainst the Polack ; 
 
 But, better look'd into, he tnily found 
 
 It was against your highness : whereat griev'd — 
 
 That so his sickness, age, and impotence 
 
 Was falsely borne in hand — sends out arrests 
 
 On Fortinbras ; which he, in brief, obeys ; 
 
 Receives rebuke from Norway ; and, in fine. 
 
 Makes vow before his uncle, never more 
 
 To give th' assay of arms against your majesty. 
 
 Whereon old Norway, overcome with joy. 
 
 Gives him three thousand crowns in annual fee. — Ibid., ii. 2. 
 
 You played once in the university, you say ? — Ibid., iii. 2. 
 
 Three great ones of the city. 
 In personal suit to make me his lieutenant, 
 Off-capp'd to him : . .. . 
 
 But he, as loving his own pride and purposes. 
 Evades them, with a bombast circumstance 
 Horribly stuff 'd with epithets of war ; 
 And, in conclusion. 
 
 Nonsuits my mediators ; for, " Certes," says he, 
 " I have already chose my officer." — 0th., i. i. 
 
 Then must you speak 
 Of one that lov'd not wisely, but too well ; 
 Of one, not easily jealous, but, being wrought, 
 Perplex'd in the extreme ; of one, whose hand. 
 Like the base Indian, threw a pearl away 
 
76 THE SHAKESPEARE KEY. 
 
 Richer than all his tribe; of one, whose subdu'd eyes, 
 Albeit unused to the melting mood, 
 Drop tears as fast as the Arabian trees 
 Their medicinal gum. — 0th., v. z. 
 
 When I was born ; 
 
 Never were waves nor wind more violent ; 
 
 And from the ladder-tackle washes off 
 
 A canvas-climber. " Ha ! " says one, " wilt thou ? " 
 
 And with a dropping industry they skip 
 
 From stem to stern : the boatswain whistles, and 
 
 The master calls, and trebles their confusion. — Per., iv. i. 
 
 Both Shakespeare's chief narative poems present numerous instances 
 of this pecuHarity in style, besides those afforded in their very opening 
 lines : — 
 
 Even as the sun with purple-colour'd face 
 
 Had ta'en his last leave of the weeping morn, 
 
 Rose-cheek'd Adonis hied him to the chase ; 
 
 Hunting he lov'd, but love he laugh'd to scorn : 
 
 Sick-thoughted Venus, makes amain unto him. 
 
 And like a bold-fac'd suitor 'gins to woo him. — V. &• Adon., Stanza i. 
 
 From the besieged Ardea all in post, 
 
 Borne by the trustless wings of false desire. 
 
 Lust-breathed Tarquin leaves the Roman host, 
 
 And to CoUatium bears the lightless fire 
 
 Which, in pale embers hid, lurks to aspire. — Lucrece, Stanza i. 
 
 In adverting to a future time he allows the speaker to deviate into 
 present tense ; thereby giving a forcible and immediate impression to 
 the prediction : — 
 
 Truth shall nurse her. 
 Holy and heavenly thoughts still counsel her : 
 She shall be lov'd and fear'd : her own shall bless her ; 
 Her foes shake like a field of beaten corn. 
 And hang their heads with sorrow : good grows with her : 
 In her days every man shall eat in safety, 
 Under his own vine, what he plants. — H. VJII^ v. 4. 
 
 From conditional tense, he permits Cominius — in the heat of martial 
 admiration addressing Marcius — to deviate into future tense, thereby 
 giving more direct and natural effect to the speech : — 
 
 If I should tell thee o'er this thy day's work. 
 Thou 'It not believe thy deeds. — Cariol.^ i. 9. 
 
 Where Silvia and the disguised page, Sebastian, are talking of the 
 supposedly absent Julia, the author allows them to speak of her in the 
 present tense; but suddenly to diverge into the past tense; because, 
 after Silvia's first question, "Is she not passing fair?" the answer 
 throws the subject of inquiry into the condition of a person whose 
 beauty (and almost as if she herself also) had passed away: — 
 
 She hath been fairer, madam, than she is : 
 When she did think my master lov'd her well. 
 She, in my judgment, was as fair as you : 
 But since she did neglect her looking-glass, 
 And threw her sun-expelling mask away. 
 The air hath starv'd the roses in her cheeks, 
 And pinch'd the lily tincture of her face, 
 That now she is become as black as I. 
 
DISSONANCES. 77 
 
 Therefore Silvia's next question comes with most natural effect : — 
 
 How tall was she? — Two G. of V., iv. 4. 
 Shakespeare has in- a few instances used a past tense where ordinarily 
 a present tense is employed : — 
 
 Slaves as ragged as Lazarus in the painted cloth, where the glutton's dogs licked 
 his sores. — i H. IV., iv. 2. 
 
 What you shall know meantime 
 Of this abroad, I shall beseech you, sir. 
 To let me be partaker. — 
 
 Doubt not, sir; 
 / ktiew* it for my bond. — Ant. &• C, i. 4. 
 A fire from heaven came, and shrivell'd up 
 Their bodies, even to loathing; for they so stunk. 
 That all those eyes ador'd them ere their fall. 
 Scorn now their hand should give them burial. — 
 'Tttnj very strange. — Per., ii. 4. 
 
 Very noteworthy is the way in which our poet occasionally uses the 
 word "now" when referring to a past time; thereby giving wonderfully 
 spirited effect to passages of narration : — 
 
 The lioness had torn some flesh away, 
 Which all this while had bled ; and now he fainted. 
 And cried, in fainting, upon Rosalind. — As You L., iv. 3. 
 Our king, being ready to leap out of himself for joy of his found daughter, as if that 
 joy were now become a loss, cries . . . Now thanks the old shepherd — W. T., v. 2. 
 
 I sprang not more in joy at first hearing he was a man-child, than now in first 
 seeing he had proved himself a man. — Coriol., i. 3. 
 
 Hath now this dread and black complexion smear'd 
 With heraldry more dismal ; head to foot 
 Now is he total gules. — Hamlet, ii. 2. 
 
 And now our cowards 
 (Like fragments in hard voyages) became 
 The life o' the need . . . ten, chas'd by one, 
 Are now each one the slaughterman of twenty. — Cym., v. 3. 
 
 And what was first but fear what might be done. 
 Grows elder now, and cares it be not done. — Per., i. i. 
 
 DISSONANCES. 
 
 Shakespeare — remarkable for his harmonious beauty of diction, 
 where musical versification is in keeping with his subject — has 
 certain dissonant effects of expression in passages, where harshness is 
 more consistent and characteristic than smoothness would be. Paulina, 
 hissing out her detestation of Leontes' cruel injustice to his queen, 
 utters a sentence sibilant with ss : — 
 
 What iiudied tormenii, tyrant, has* for me ? 
 What wheels ? racks ? fires .■' what flaying ? boiling 
 In leads or oils ? what old or newer torture 
 Must I receive, whose every word deserves 
 To tasie of thy mosi worsi .■' — W. T., iii. 2. 
 
 * The effect is thus conveyed of ' I knew it to be my bounden duty, before you asked 
 me to inform you.' 
 
7^ THE SHAKESPEARE KEY. 
 
 What a capital effect of bluntness is given to King Harry's defiant 
 speech by the rugged little sentence we have italicised in the following 
 lines : — 
 
 They shall have none, I swear, but these my joints, — 
 
 Which, if they have as I will leave 'em them, 
 
 Shall yield them little, tell the Constable.— H. V., iv. 3. 
 
 And how well consists the close succession of murmuring ss in the 
 following couplet with the image it expresses : — 
 
 Good things of day begin to droop and drowse ; 
 
 Whiles night's black agents to their preys do rouse. — Macb., iii. 2. 
 
 Into Shylock's mouth the poet has put a repetition phrase in the 
 following passage, which gives a sound like the raving bark of the ver)- 
 "dog" he taunts Antonio with having called him: — 
 
 / 'II have my bond ; speak not against my bond. 
 
 Thou call'dst me dog before thou hadst a cause ; 
 
 But, since I am a dog, beware my fangs; . . . 
 
 / 'II have my bond ; I will not hear thee speak : 
 
 / 'II have my bond ; and therefore speak no more. . . . 
 
 I 'II have no speaking; / will have my bond. — Mer. of V., iii. 3. 
 
 And, later on, he has put into the same Shylock's mouth the word 
 "Barrabas" (not as spelt in the New Testament, 'Barabbas'), spelt 
 and accented in a mode that imparts a finely snarling effect to the 
 name : — 
 
 These be the Christian husbands ! I have a daughter ; 
 
 Would any of the stock of Barrabas 
 
 Had been her husband rather than a Christian I — Ibid, iv. 1. 
 
 In the following, a scornful disgust is thrown into the expression by 
 the tone of words chosen : — 
 
 You shall find there 
 A man, who is the abstract of all faults 
 That all men/o/low. — Ant. &• C, i. 4. 
 
 There is a noteworthy aptness in the next passage, where the iterated 
 checks of " wots what watch " come with as excellent effect of disturbance 
 to the ear, as come the repose and placid cadence of the concluding 
 line with soft effect ; each forming a thorough echo to the sense of the 
 respective phrase : — 
 
 But in gross brain little wots 
 What watch the king keeps to maintain the peace. 
 Whose hours the peasant best advantages. — H. V., iv. i. 
 
 It is worth while to observe how frequently our poet has this kind of 
 unpleasing effect — this dissonant consonance of repeated similar sound — 
 where the word "wot" occurs; also to observe that it accords well with 
 the puzzled impression conveyed by the phrase itself: — 
 
 Anon, I wot not by what strong escape. — Com. ofE., v. i. 
 
 Than those that walk, and wot not what they are. — Love's L. L., i. l. 
 
 But, my good lord, I wot not by what power. — Mid. N. D., iv. i. 
 
 As blanks, benevolences, and I wot not what : 
 
 But what, o' God's name, doth become of this?— i?. //., ii. 1. 
 
DOUBLE EPITHETS. 79 
 
 DOUBLE EPITHETS. 
 
 Shakespeare occasionally uses more than one epithet descriptive of 
 an object ; generally for the sake of giving emphatic effect [See Pleo- 
 nasms], or to denote emotion in the speaker: — 
 
 To be detected with a jealous rotten bell-wether. — Merry W., iii. 5. 
 
 For every pelting petty officer would use his. — M.for M., i. v:. 
 
 That I should love a bright particular star. — All's W., i. i. 
 
 But such a headstrong potent fault it is. — Tw. N., iii. 4. 
 
 Where the warlike Smalus, that noble honoured lord. — W. T., v. i. 
 
 Rough cradle for such little pretty ones ! 
 
 Rude ragged nurse, old sullen playfellow for. — R. III., iv. i. 
 
 And, when he thinks, good easy man, full surely. — H. VIII., ii. 2. 
 
 And sleep in dull cold marble, where no mention. — Ibid., iii. 2. 
 
 Thou idle immaterial skein of sleave silk. — Tr. & Cr., v. i. 
 
 To bear with those that say you are reverend grave men. — Coriol., ii. i. 
 
 When you cast your stinking greasy caps, in hooting. — Ibid., iv. 6. 
 
 Commend me to thy honourable virtuous lord. — Timon, iii. 2. 
 
 Pluck the grave wrinkled senate from the bench, . . . 
 
 Pluck the lin'd crutch from thy old limping sire. — Ibid., iv. i. 
 
 A subtle slippery knave, . . . a. pestilent complete knave. — 0th., ii. i. 
 
 One may smell in such a will most rank foul disproportion. — Ibid., ii. 3. 
 
 He sometimes uses even a triple descriptive epithet : — 
 
 So are those crisped snaky golden locks. — Mer. of V., iii. 2. 
 A world of pretty fond adoptions Christendoms. — All's W., i. 1. 
 When holy and devout religious men. — R. Ill,, iii. 7. 
 Compassing of his salt and most hidden loose affection. — 0th., ii. s.. 
 
 And in the following passage he has put into the mouth of the 
 peppery Menenius a quadruple epithet : — 
 
 A brace of unmeriting, proud, violent, testy magistrates. — Coriol., ii. 1. 
 
 In two instances he gives a specimen of heaped-up epithets. The 
 one as a pedantic affectation : — 
 
 After his undressed, unpolished, uneducated, unpruned, untrained, or rather, milettercd. 
 or ratherest, unconfirmed fashion. — Love's L. L., iv. 2. 
 
 And the other as an outpouring of indignant scorn : — 
 
 A base, proud, shallow, beggarly, three-suited, hundred-pound, filthy worsted-stocking 
 knave ; a lily-livered, action-taking knave ; a whoreson, glass-gazing, superserviceable , 
 finical rogue ; one-trunk-inheriting slave. — Lear, ii. 2. 
 
 It is to be noted that Shakespeare often, as in the above passage, 
 uses an additional epithet with a compound epithet : — 
 
 We must supplant those rough rug-headed kerns. — R. II., ii. i. 
 
 In the play from which we have last quoted, there are two passages 
 where some annotators have supposed a compound word is intended ; 
 
8o THE SHAKESPEARE KEY. 
 
 but where we believe a double epithet is intended in the first passage, 
 and a double participle in the second : — 
 
 The sly slow hours shall not determinate 
 
 The dateless limit of thy dear exile. — R. II., i. 3. 
 
 So, weeping, smiling, greet I thee, my earth. — Ibid., iii. 2. 
 
 We think that the instances of double epithets used by Shakespeare, 
 as above cited, and the instances of double participle, cited by us as 
 follow, serve to confirm our view : — 
 
 And so in progress to be hatch'd and born. — M.for M., ii. 2. 
 Why should I write this down, that's riveted, 
 Screw'd to my memory ? — Cyin., ii. 2. 
 
 DRAMATIC LAWS AND ART. 
 
 Shakespeare has demonstrated not only that he knew the classical 
 and already existing laws of dramatic art, but that he was also capable 
 of inventing an original code for his own use, and for that of other 
 dramatists who should come after him. His system of dramatic time 
 we have shown at great length, and under a separate heading devoted 
 to that subject [See Dramatic Time] ; while his contrivance of veri- 
 similitude in dramatic place is also original and ingenious. As an 
 instance of this, we would point out the remarkably numerous scenes 
 into which his drama of " Antony and Cleopatra" is divided, aiding to 
 impart the effect of long time and varied place required for this play, 
 which, historically, extends over a period of ten years, and which 
 demands the alternate display of his characters at Rome, in Egypt, &c. 
 Although in the fifth act there are but two scenes, in the first act ot 
 " Antony and Cleopatra" there are five scenes ; in the second act, seven 
 scenes ; in the third act, eleven scenes ; and in the fourth act, no fewer 
 than thirteen scenes.. 
 
 He has various excellent methods of denoting place in his dramas, 
 that serve to keep well before the mind of the spectator the spot where 
 are supposed to transpire the incidents witnessed ; and, be it remembered, 
 this was essentially necessary at the time when our great dramatist 
 wrote, there then being none of the modern scenic aids to imagination 
 on the stage where his plays were enacted. He had to give vivacity 
 to their representation, as well as to give life to their composition ; and 
 this he effected by his admirably artistic skill. Sometimes he effects 
 this by poetically picturesque touches, marking the actual presence of 
 the surroundings amid which the speaker is stationed : — 
 
 If by your art, my dearest father, you have 
 
 Put the wild waters in this roar, allay them. 
 
 The sky, it seems, would pour down stinking pitch. 
 
 But that the sea, mounting to the welkin's cheek. 
 
 Dashes the fire out. — Temp., i. x.. 
 
 How lush and lusty the grass looks ! how green ! — Ibid., ii. 1. 
 
 For me, by this pale queen of night I swear. — Two G. of V., iv. 2. 
 
DRAMATIC LAWS AND ART. Si. 
 
 The sun begins to gild the western sky ; 
 
 And now it is about the very hour, 
 
 That Silvia at Friar Patrick's cell should meet me..— Two G. of V., v. i. 
 
 Whisper her ear, and tell her, / and Ursula 
 Walk in the orchard, and our whole discourse 
 Is all of her : say that thou overheard'st us ; 
 And bid her steal into the pleached bower, 
 Where honeysuckles, ripen'd by the sun. 
 Forbid the sun to enter. . . . 
 Now, Ursula, when Beatrice doth come, 
 As we do trace this alley up and down. 
 Our talk must only be of Benedick. .. . 
 So angle we for Beatrice ; who even How- 
 ls couched in the woodbine coverture. — M. Ado,, iii. i. 
 
 And look, the gentle day. 
 Before the wheels of Phoebus, round about 
 Dapples the drowsy east with spots of grey. — Ibid., v. 2. 
 Yet you, the murderer, look as bright, as clear 
 As yonder Venus in her glimmering sphere. — Mid. N. D., iii. 2. 
 Fair Helena; who more engilds the night 
 Than all yon fiery oes and eyes of light. — IKd., iii. 2. 
 My fairy lord, this must be done with haste. 
 For night's swift dragons cut the clouds full fast. 
 And yonder shines Aurora's harbinger. — Ibid., iii.. .1.. 
 Come, sit thee down upon this flowery bed. 
 While I thy amiable cheeks do coy. 
 And stick musk-roses in thy sleek smooth head^ 
 And kiss thy fair large ears, my gentle joy. — Ibid., iv. i. 
 How sweet the moonlight sleeps upon this bank ! 
 Here will we sit, and let the sounds of music 
 Creep in our ears ; soft stillness and the night 
 Become the touches of sweet harmony. 
 Sit, Jessica : look, how the floor of heaven 
 Is thick inlaid with patines of bright gold. — Mer. of V., v. 1. 
 
 That light we see is burning in my hall. — Ibid., v. i. 
 
 This night methinks is but the daylight sick ; 
 
 It looks a little paler : 'tis a day, 
 
 Such as the day is when the sun is hid. — Ibid., v. i. 
 
 Well, I '11 end the song. Sirs, cover the while ; the duke will drink under this tree. 
 
 As Yon L., ii. 5. 
 Stay yet, look back with me unto the Tower. 
 Pity, you ancient stones, those tender babes, 
 Whom envy hath immur'd within your walls I 
 Rough cradle for such little pretty ones ! 
 Rude ragged nurse, old sullen playfellow 
 For tender princes, use my babies well ! 
 So foolish sorrow bids your stones farewell. — R. III., iv. i. 
 My prophecy is but half his journey yet ; 
 For yonder walls, that pertly front your town. 
 Yond' towers, whose wanton tops do buss the clouds. 
 Must kiss their own feet. — Tr. &• Cr., iv. 5. 
 By all Diana's waiting-women yond\ 
 And by herself, I will not tell you whose. — Ibid., v. i. 
 See you yond' coign 0' the Capitol— yond' corner-stone ? — Coriol., v. 4. 
 But, soft ! what light throtigh yonder window breaks ? 
 It is the east, and Juliet is the sun ! 
 Arise, fair sun, and kill the envious moon. — R. 6" Jk/., ii. 2. 
 
 G 
 
82 THE SHAKESPEARE KEY. 
 
 0, speak again, bright angel ! for thott art 
 
 As glorious to this night, being o'er my head, 
 
 As is a winged messenger of heaven 
 
 Unto the white upturned wond'ring eyes , 
 
 Of mortals, that fall back to gaze on him, 
 
 When he bestrides the lazy-pacing clouds, 
 
 And sails upon the bosom of the air. — R. <&• yiiL, ii. 2. 
 
 The orchard walls are high, and hard to climb, 
 
 And the place death, considering who thou art, 
 
 If any of my kinsmen find thee here. — 
 
 With love's light wings did I o'erperch these walls. — Ibid., ii. 2. 
 
 Lady , by yonder blessed moon I swear, 
 
 That tips with silver all these fruit-tree tops. — Ibid., ii. 2. 
 
 The grey-ey'd morn smiles on the frowning night. 
 
 Checkering the eastern clouds with streaks of light ; 
 
 And flecked darkness like a drunkard reels 
 
 From forth day's path and Titan's fiery wheels: 
 
 Now, ere the sun advance his burning eye. 
 
 The day to cheer, and night's dank dew to dry, 
 
 I must up-fill this osier-cage of ours 
 
 With baleful weeds and precious-juiced flowers. — Ibid., ii. 3. 
 
 Wilt thou be gone .' it is not yet near day : 
 
 It was the nightingale, and not the lark, 
 
 That pierc'd the fearful hollow of thine ear ; 
 
 Nightly she sings on yon pomegranate tree ; 
 
 Believe me, love, it was the nightingale. — 
 
 It was the lark, the herald of the morn, 
 
 No nightingale : look, love, what envious streaks 
 
 Do lace the severing clouds in yonder east : 
 
 Night's candles are burnt out, and jocund day 
 
 Stands tiptoe on the misty mountain-tops. — Ibid., iii. 5. 
 
 I '11 say, yon grey is not the morning's eye, 
 
 'Tis but the pale reflex of Cynthia's brow; 
 
 Nor that is not the lark, whose notes do beat 
 
 The vaulty heaven so high above our heads. — Ibid., iii. 5. 
 
 O, now be gone; more light and light it grows. — Ibid., iii. 5. 
 
 Give me thy torch, boy: hence, and stand aloof; 
 
 Yet put it out, for I would not be seen. 
 
 VnAer yond' yew-trees lay thee all along. 
 
 Holding thine ear close to the hollow ground ; 
 
 So shall no foot upon the churchyard tread 
 
 {Being loose, unfirm, with digging up of graves). 
 
 But thou shalt hear it. — Ibid., v. 3. 
 
 I 'II bury thee in a triumphant grave — 
 
 A grave? O, no. a lantern, slaughter'd youth; 
 
 For here lies jfuliet, and her beauty makes 
 
 This vault a feasting presence full of light. 
 
 . . . O my love ! my wife ! 
 Death, that hath suck'd the honey of thy breath, 
 Hath had no power yet upon thy beauty; 
 Thou art not conquer'd; beauty's ensign yet 
 Is crimson in thy lips, and in thy checks. 
 And death's pale flag is not advanced there. — Ibid., v. 3. 
 What torch is yond', that vainly lends his light 
 To grubs and eyeless skulls ? as I discern. 
 It burneth in the Capels' monument. — Ibid., v. 3. 
 As I did sleep under this yew-tree here, 
 I dreamt my master and another fought, . . . 
 Alack, alack, what blood is this, which stains 
 
DRAMATIC LAWS AND ART. 83 
 
 The stony entrance of this sepulchre ? 
 
 What mean these masterless and gory swords 
 
 To be discolour' d by this place of peace? — R. &• Jul., v. 3. 
 
 Let me look back upon thee. O, thou wall. 
 
 That girdlest in those wolves, dive in the earth, 
 
 And fence not Athens. . . . Nothing I'll bear from thee, 
 
 But nakedness, thou detestable town ! 
 
 Take thou that too, with multiplying bans I 
 
 Timon will to the woods ; where he shall find 
 
 Th' unkindest beast more kinder than mankind. 
 
 The gods confound (hear me, you good gods all) 
 
 The Athenians both within and out that wall! — Timon., iv. 1. 
 
 Why this spade ? this place ? 
 This slave-like habit? and these looks of care ? 
 Thy flatterers yet wear silk, drink wine, lie soft ; 
 Hug their diseas'd perfumes, and have forgot 
 That ever Timon was. Shame not these woods 
 By putting on the cunning of a carper. . . . 
 . . . What, think'st 
 That the bleak air, thy boisterous chamberlain, 
 Will put thy shirt on warm ? Will these moss'd trees 
 That have outliv'd the eagle, page thy heels. 
 And skip when thou point'st out. Will the cold brook, 
 Candied with ice, caudle thy morning taste. 
 To cure thy o'ernight's surfeit ? — Ibid., iv. 3. 
 Here lies the east : doth not the day break here ? — 
 No.— 
 
 O, pardon, sir, it doth; and yon grey lines 
 That fret the clouds, are messengers of day. — 
 You shall confess that you are both deceiv'd. 
 Here, as I point my sword, the sun arises ; 
 Which is a great way growing on the south, 
 Weighing the youthfiil season of the year. 
 Some two months hence, up higher toward the north 
 He first presents his fire ; and the high east 
 Stands, as the Capitol, directly here. — yul. C, ii. 1. 
 
 Say from whence 
 You owe this strange intelligence ; or why 
 Upon this blasted heath you stop our way 
 With such prophetic greeting. — Macb., i. 3. 
 This castle hath a pleasant seat ; the air 
 Nimbly and sweetly recommends itself 
 Unto our gentle senses. — 
 
 This guest of summer. 
 The temple-haunting martlet, does approve. 
 By his lov'd mansionry, that the heaven's breath 
 Smells wooingly here : no jutty, frieze. 
 Buttress, or coign of vantage, but this bird 
 Hath made his pendent bed and procreant cradle : 
 Where they most breed and haunt, I have observ'd 
 The air is delicate. — Ibid., i. 6. 
 
 Thou see'st the heavens, as troubled with man's act. 
 Threaten his bloody stage : by the clock 'tis day, 
 And yet dark night strangles the travelling lamp : 
 Is 't night's predominance, or the day's shame. 
 That darkness does the face of earth entomb. 
 When living light should kiss it .'—Ibid., ii. 4. 
 Last night of all. 
 When yond' same star, that 's westward from the pole, 
 
 G 2 
 
84 THE SHAKESPEARE KEY. 
 
 Had made his course to illume that part of heaven 
 
 Where now it burns, Marcellus and myself, 
 
 The bell then beating one. — Hamlet, i. i. 
 
 But, look, the morn, in russet mantle clad. 
 
 Walks o'er the dew of yon high eastern hill. — Ibid., i. i. 
 
 Blow, winds, and crack your cheeks ! rage ! blow ! 
 
 You cataracts and hurricanoes, spout 
 
 Till you have drench' d our steeples, drown'd the cocks ! 
 
 You sulphurous and thought-executing fires. 
 
 Vaunt-couriers of oak-cleaving thunderbolts, 
 
 Singe my white head ! And thou, all-shaking thunder. 
 
 Strike flat the thick rotundity o' the world/ 
 
 Crack nature's moulds, all germins spill at once. 
 
 That make ingrateful man ! . . . 
 
 Rumble thy bellyful ! spit, fire I spout, rain ! 
 
 Nor rain, wind, thunder, fire, are my daughters : 
 
 / tax not you, you elements, with unkindness ; 
 
 I never gave you kingdom, calVd you children. 
 
 You owe me no subscription : then, let fall 
 
 Your horrible pleasure ; here I stand, your slave, 
 
 A poor, infirm, weak, and despis'd old man : 
 
 But yet I call you servile ministers. 
 
 That vifill with two pernicious daughters yo(» 
 
 Your high-engender' d battles 'gainst a head 
 
 So old and white as this. O ! O ! 'tis foul ! — Lear, iii. z. 
 
 Now, by yond' marble heaven. 
 In the due reverence of a sacred vow, 
 I here engage my words. — 
 
 Do not rise yet. 
 Witness, you ever-burning lights above. 
 You elements that clip us round about. 
 Witness, that here lago doth give up 
 The execution of his wit, hands, heart. 
 To wrong'd Othello's service! — 0th., iii. 3. 
 
 A goodly day not to keep house, with such 
 Whose roof's as low as ours ! Stoop, boys : this gate 
 Instructs you how to adore the heavens, and bows you 
 To morning's holy office : the gates of monarchs 
 Are arch'd so high, that giants may jet through 
 And keep their impious turbands on, without 
 Good morrow to the sun. Hail, thou fair heaven ! 
 We house i' the rock, yet use thee not so hardly 
 As proud livers do. — 
 
 Hail, heaven ! — 
 
 Hail, heaven ! — 
 Now for our mountain sport : up to yon hill : 
 Your legs are young; I'll tread these flats. — Cym., iii. 3. 
 
 But what is this ? 
 Here is a path to it ; 'tis some savage hold. — Ibid., iii. 6. 
 
 Thou God of this great vast, rebuke these surges 
 Which wash both heaven and hell ; and thou, that hast 
 Upon the winds command, bind them in brass, 
 Having call'd them from the deep ! O still 
 Thy deafening, dreadful thunders ; gently quench 
 Thy nimble, sulphurous flashes ! how, Lychorida, 
 How does my queen ? Thou storm, venomously 
 Wilt thou spit all thyself? The seaman's whistle 
 Is as a whisper in the ears of death. 
 Unheard. — Per., iii. i. 
 
DRAMATIC LAWS AND ART. 85 
 
 In his plots, Shakespeare has a unity of purpose, and a harmony of 
 moral principle, that make his style a special study in this particular 
 alone, besides the countless other perfections marking his dramatic 
 art. 
 
 To take the sublime tragedy of "Lear" — as perhaps the most signal 
 example of unity in dramatic plot and ethical purpose — see how he 
 has made the primary story of the filial wickedness of Goneril and 
 Regan with the filial truth of Cordelia towards the old king, reflected by 
 the secondary story of Edmund's treachery and Edgar's fidelity towards 
 their father, Gloster. 
 
 Again, in " Timon of Athens " see how the dramatist has contrived 
 to unite the almost episodical events of Alcibiades' career with those of 
 Timon's; and to blend the minor points of the one with the more 
 striking points of the other. In doing this, he has made the originating 
 cause of the military leader's wrath against the Athenian rulers, and 
 the munificent nobleman's hatred towards them, to spring from a similar 
 source — ingratitude. 
 
 See how, even in his less grave plays, he has made the subordinate 
 incidents and inculcated lesson a kind of reinforcement of the main 
 events and precept contained therein ; as we find this exemplified in his 
 drama of "The Merchant of Venice " ; where Portia's fate dependent on 
 the caskets, involving the question of chance and right judgment, is but 
 a harmonious carrying on of the chief points — the mixture of chance 
 and judgment in the legal quirk which saves Antonio's life — the ques- 
 tions of prejudice between castes and faiths, the justice and injustice 
 between Christian and Jew, the malice and pertinacious revenge of 
 Shylock paralleled by the hatred and oppression of Antonio and his 
 Venetian protectors towards the persecuted tribe. And — to adduce but 
 a single instance in evidence of Shakespeare's passages containing coin- 
 cident dramatic monition — we cite the following speech made by the 
 Second Murderer in " Richard III."; and then the speech made by the 
 usurper himself, upon the same subject — conscience. 
 
 Observe how finely the dramatist contrives to make the hireling 
 murderer's temporary qualms — bluntly, nay, coarsely and almost 
 humorously expressed — a kind of rough sketch (at the same time 
 limned with marvellously distinctive characterisation) of that sub- 
 sequent terrible revealment of the night horrors and agonies that haunt 
 the couch of the royal murderer : — 
 
 First Murd. Where's thy conscience now ? 
 
 Sec. Murd. In the Duke of Gloster's purse. 
 
 First Murd. So, when he opens his purse to give us our reward, thy conscience 
 flies out. 
 
 Sec. Murd. 'Tis no matter; let it go; there's few or none will entertain it. 
 
 First Murd. What if it come to thee again ? 
 
 Sec. Murd. I'll not meddle with it — it is a dangerous thing, it makes a man a 
 coward : a man cannot steal, but it accuseth him ; a man cannot swear, but it checks 
 him; a man cannot lie with his neighbour's wife, but it detects him: 'tis a blushino- 
 shame-faced spirit, that mutinies in a man's bosom ; it fills one full of obstacles ■ it 
 made me once restore a purse of gold, that by chance I found ; it beggars any man 
 that keeps it : it is turned out of all towns and cities for a dangerous thing ; and every 
 man, that means to live well, endeavours to trust to himself, and live without it. 
 
 R. III., i. 4. 
 
86 THE SHAKESPEARE KEY. 
 
 K. Rich. Give me another horse — bind up my wounds — 
 Have mercy, Jesu ! Soft ! I did but dream. 
 0, coward conscience, how dost thou afflict me ! 
 The lights burn blue. It is now dead midnight. 
 Cold fearful drops stand on my trembling flesh. 
 What ! do I fear myself? there 's none else by : 
 Richard loves Richard ; that is, I am I. 
 Is there a murderer here ? No — yes, I am : 
 Then fly. What ! from myself? Great reason why ; 
 Lest I revenge. What ! myself upon myself ! 
 Alack, I love myself. Wherefore ? for any good 
 That I myself have done unto myself? 
 O, no ! alas, I rather hate myself 
 For hateful deeds committed by myself ! 
 I am a villain : yet I lie, I am not. 
 Fool, of thyself speak well : fool, do not flatter. 
 My conscience hath a thousand several tongues. 
 And every tongue brings in a -several tale, 
 And every tale condemns me for a villain. 
 Perjury, perjury, in the high'st degree ; 
 MJrder, stern murder, in the dir'st degree ; 
 All several sins, all us'd in each degree. 
 Throng to the bar, crying all. Guilty! guilty! 
 I shall despair. There is no creature loves me ; 
 And if I die, no soul shall pity me ; 
 Nay, wherefore should they — since that I myself 
 Find in myself no pity to myself? 
 Methought the souls of all that I had murder'd 
 Came to my tent ; and every one did threat 
 To-morrow's vengeance on the head of Richard. — R. III., v. 3. 
 
 Shakespeare has numerous dramatic expedients for introducing 
 certain needful points with easy and natural effect : — 
 
 Rosalind. Do you not know I am a woman ? when I think, I must speak. Sweet, 
 say on. 
 
 Celia. You bring me out. Soft ! comes he not here ? 
 
 Rosalind. 'Tis he, slink by, and note him. [Rosalind and Celia retire. 
 
 Enter Oelando and Jaques. 
 
 As You L., iii. -^ 
 
 By the above device of making Rosalind and Celia break off their 
 conversation and withdraw while Orlando and Jaques talk together, the 
 dramatist gives an opportunity for a characteristic dialogue between 
 the two latter, and for making the lover avow his passion for his 
 mistress (though unconsciously) in her verj' presence : — 
 
 Orlando. Is 't possible, that on so little acquaintance you should like "her? that, but 
 seeing, you should love her ? and, loving, woo ? and, wooing, she should grant ? and 
 will you persever to enjoy her ? — Ibid., v. 2. 
 
 This question of Orlando's serves to evoke an explanation of the 
 sudden mutual liking between his brother Oliver and Celia ; which else 
 might strike the audience, or readers of the play, as being unnaturally 
 abrupt. 
 
 Sly. For God's sake, a pot of small ale. . . . 
 And once again, 3 pot o' the smallest ale. — Tarn, of S., Indue. 2. 
 
 Most humorously and appropriately has Shakespeare, by the earnest- 
 ness and repetition of this call for the weakest of liquors, indicated the 
 thirst that besets the drunkard after his heavy sleep. 
 
DRAMATIC LAWS AND ART. 
 
 Countess. Had you not lately an intent— speak truly— 
 To go to Paris ? 
 Helena. Madam, I had All's W., i- 3- 
 
 Our author causes the Countess to make this inquiry, because it was 
 necessary that Helena's "intent to go to Paris" should be discussed 
 between them in the present scene for the fartherance of the draniatic 
 action, although there has been no absolute mention previously of the 
 " intent " having come to the Countess's knowledge. [See Passages 
 OF Incomplete Explanation.] 
 
 Countess. Alas! and would you take the letter of her? 
 Might you not know she would do as she has done. 
 By sending me a letter ? Read it again. ... 
 
 Steward (Reads). " I am Saint Jaques' pilgrim," &c.—Ibid., in. 4. 
 
 By the lady's desire to hear the letter re-read, the dramatist provides 
 that it shall be heard by the spectators of the play. 
 
 Viola. Who governs here ? 
 
 Captain. A noble duke, in nature 
 
 As in name. 
 
 Viola. What is his name ? 
 
 Captain. Orsino. 
 
 Viola. Orsino ! I have heard my father name him ; 
 He was a bachelor then. — Tw. N., i. 2. 
 
 This little sentence of 'Viola's contains one of our dramatist's appa- 
 rently slight but really subtle touches of artistic contrivance. It lets 
 us into the secret of the original source of this charming heroine's 
 interest in Orsino — her father's mention ; while by the single word 
 "bachelor," we are allowed to perceive the peculiar nature of the 
 interest she feels. By this delicate indication of a pre-existing inclina- 
 tion on her part for the count, we are prepared for the circumstance of 
 Viola's at once falling so deeply in love with him, when she comes to- 
 know him personally. 
 
 Sir Toby. Come hither, knight ; come hither, Fabian : we '11 whisper o'er a couplet 
 or two of most sage saws. — Ibid., iii. 4. 
 
 Sir Toby's withdrawal apart with the two others affords opportunity 
 for Viola's soliloquy, and gives in a natural manner the effect of their 
 inclination to let the quarrel drop, 
 
 Florizel. Hark, Perdita. [Taking her aside. 
 
 (To Camillo) I '11 hear you by and by. — W. T., iv. 3. 
 
 The above device serves a double dramatic purpose. It allows us to 
 perceive how the young prince, seeing that Perdita stands silently — as 
 it were, irresponsively and unassentingly- — by while he speaks to Ca- 
 millo, leads her apart that he may convince her of his own unswerving 
 faith and persuade her to his views ; and it also affords opportunity 
 for Camillo's soliloquy which tells the audience his plan. 
 
 Camillo. My lord. 
 
 Fear none of this. . . . For instance, sir. 
 
 That you may know you shall not want — one word. [They talk aside. 
 Re-enter Autolycus. — Ibid., iv. 3. 
 Very naturally is the lively rogue's soliloquy here introduced, while 
 
88 THE SHAKESPEARE KEY. 
 
 Camillo is explaining to the lovers what will be their resources in their 
 wanderings. 
 
 Florizel. Perdita, what have we twain forgot ! 
 Pray you, a word. [They converse apart.] — W. T., iv. 3. 
 
 This gives opportunity for Camillo's mention of his intending to 
 inform the king of his son's departure. 
 
 Poins. Come, shelter, shelter: J have removed FaUtafi's horse, and he frets like 
 gummed velvet. . . . 
 
 Falstaff. Where 's Poins, Hal ? 
 
 P. Henry. He is walked up to the top of the Kill : I '11 go seek him. 
 
 [Pretends to seek Poins. 
 
 Falstaff. I am accursed to rob in that thief s company: the rascal hath removed my 
 horse, and tied him I know not where. . . . Give me my horse, you rogues; give me 
 my horse, and be hanged ! . . .. 
 
 Gadshill. Case ye, case ye; on -with your visors : there 's money of the king's comnig- 
 dou'H the hill, . . . 
 
 P. Henry. Sius, you four shall front them in the narrow lane; Ned Poins and I n-ill 
 walk lower : if they 'scape from your encounter, then they light on us. . . . 
 
 Poins. Sirrah Jack, thy horse stands behind the hedge : when thou needest him, there 
 thou shaltfind him. . . . 
 
 First Traveller. Come, neighbour: the boy shall lead onr horses down the hill; 
 we '11 walk afoot awhile, and ease our legs. . . . 
 
 Falstaff. Come, my masters, let .us share, and then to horse before day. . . . 
 
 P. Henry. Got with much ease. Now merrily to horse. — i H. IV., ii. 2. 
 
 How admirably do the above-cited touches set the absolute scene of 
 the Gadshill robbery before our eyes ; and how the dramatist has borne 
 in mind the necessity of providing for the fat knight's return to town, 
 by making Poins, after he has had his jest out, tell Sir John where he 
 may find his purloined horse. Shakespeare forgets nothing that may 
 aid dramatic verisimilitude. 
 
 Falstaff. Come hither, hostess. \Taking her aside. 
 
 Enter Gower. 
 
 Chief Justice. Now, Master Gower, what news? 
 
 Gower. The king, my lord, and Henry, Prince of Wales, 
 Are near at hand, the rest the paper tells. {Gives a letter. 
 
 Falstaff. As I am a gentleman, — 
 
 Hostess. Faith, you said so before. 
 
 Falstaff. As I am a gentleman : come, no more words of it. . . 
 
 Chief jfustice. I have heard better news. 
 
 Falstaff. What's the news, my good lord ? 
 
 Chief yusfice (to Gower). Where lay the king last night ? 
 
 Gower. At Basingstoke, my lord. 
 
 Falstaff. I hope, my lord, all 's well : what is the news, my lord ? 
 
 Chief Justice (to Gower). Come all his forces back? 
 
 Gower. No ; fifteen hundred foot, five hundred horse, 
 Are march'd up to my lord of Lancaster, 
 Against "Northumberland and the archbishop. 
 
 Falstaff. Comes the king back from Wales, my noble lord ? 
 
 Chiif Justice (to Gower). You shall have letters of me presently: come, go along 
 with me, good IVIaster Gower. 
 
 Falstaff. My lord!* 
 
 Chief Justice. What's the matter ? 
 
 * We seem to actually hear the stentorian roar with which this exclamation is 
 shouted, compelling the Lord Chief Justice to attend. 
 
DRAMATIC LAWS AND ART. 89 
 
 Falstaff. Master Gower, shall I entreat you with me to dinner. 
 
 Gower. I must wait upon my good lord here; I thank you, good Sir John. 
 
 Chief Justice. Sir John, you loiter here too long, being you are to take soldiers up 
 in counties as you go. 
 
 Falstaff. Will you sup with me, Master Gower ? 
 
 Chief Justice. What foolish master taught you these manners. Sir John ? 
 
 Falstaff. Master Gower, if they become me not, he was a fool that taught them me. 
 This is the right fencing grace, my lord ; tap for tap, and so part fair. — 2 H. IV., n. 2. 
 
 The above scene is conceived in the very highest spirit of comedy 
 art. There is first the going apart of Falstaff with Hostess Quickly 
 to pacify her, allowing the entrance of Gower and the Chief Justice's 
 accosting him ; then there is the inspection of the letter, while Sir John 
 prevails upon his facile creditor not only to withdraw her action for his 
 debt, but to lend him fresh money ; and then comes that capital tilting- 
 bout at cutting each other dead between the Chief Justice and Sir John 
 by steadily not noticing appeal, and as steadily continuing to address 
 the unfortunate third who is present. Of course, Falstaff has decidedly 
 the best of it, and points his successive thrusts with extra sharpness 
 by beginning everj' one of them with " Master Gower," so that it shall 
 not be mistaken to whom he is speaking. 
 
 Shallow. I was once of Clement's Inn ; where, I think, they will talk of mad 
 Shallow yet. 
 Silence. You were called lusty Shallow then, cousin. — Ibid., iii. 2. 
 
 By this one slight touch the dramatist lets us see that the old justice 
 has so often repeated the bragging accounts of his pranks in his green 
 days and the cognomens they procured him that his cousin Silence 
 knows them by heart. 
 
 He jests at scars that never felt a wound. — R. &• Jul., ii. 2. 
 
 By putting into Romeo's mouth the above comment on Mercutio's 
 dialogue with Benvolio, jesting at love-pangs, which have never been 
 experienced by so light-hearted a fellow as he who thus jests, the 
 dramatist contrives to show us that Romeo has heard his friends 
 calling to him, but that he does not choose to answer them. 
 
 Now, ere the sun advance his burning eye, 
 
 The day to cheer, and night's dank dew to dry, 
 
 I must up-fill this osier cage of ours 
 
 With baleful weeds and precious-juiced flowers. — Ibid., ii. 3. 
 
 The gentle friar's occupation prepares dramatically and most natu- 
 rally for his subsequent knowledge and recommendation of the trance- 
 potion given by him to Juliet. 
 
 Timon. Come, bring in all together. [The banquet brought in. 
 
 Second Lord. All covered dishes 1 
 
 First Lord. Royal cheer, I warrant you. 
 
 Third Lord. Doubt not that, if money and the season can yield it. — Timon, iii. 6. 
 
 The Second Lord's exclamation is one of Shakespeare's slight but 
 significant touches of dramatic art. By it he draws attention to the 
 point of the guests' anticipation of extra choice fare, and at the same 
 time accounts for the circumstance of their not seeing its real nature 
 until the very moment when the striking effect of its discovery is to be 
 made. 
 
go THE SHAKESPEARE KEY. 
 
 Banquo. Cousins, a word, I pray you. 
 
 Macbeth (Aside). Two truths are told, 
 
 As happy prologues to the swelling act 
 Of the imperial theme. (Aloud) I thank you, gentlemen. 
 (Aside) This supernatural soliciting 
 Cannot be ill ; cannot be good : . . . 
 
 Banquo. Look how our partner's rapt. — Macb., i. 3. 
 
 The withdrawal apart of Banquo, Rosse, and Angus, admits of 
 Macbeth's relapsing into that profound reverie upon the witches' 
 prognostication, which before he had scarcely been able to keep himself 
 from falling into, even while the royal messengers were addressing 
 him. 
 
 Macbeth. Go bid thy mistress, mhen my drink is ready, 
 She strike upon the bell. . . . 
 
 Whiles I threat, he lives : 
 Words to the heat of deeds too cold breath gives. [A bell rings. 
 
 I go, and it is done ; the bell invites me. 
 H«ar it not, Duncan ; for it is a knell 
 That summons thee to heaven sr to hell, [Exit. 
 
 Enter Lady Macbeth. 
 Lady Macbeth. That which hath made them drunk hath made me bold ; 
 What hath quench'' d them hath given me fire. . . . 
 ... He is about it : 
 The doors are open ; and the surfeited grooms 
 Do mock their charge with snores : / have drugg'd their possets, 
 That death and nature do contend about them, 
 Whether they live or die. — Ibid., ii. 2. 
 
 This point of the antique customary night-draught has been made by 
 our author to serve three distinct purposes of dramatic art. Macbeth, 
 wholly engrosed with his intended deed, uses the bell which announces 
 his night "drink" as the mere signal for his bloody act; Lady Macbeth 
 swallows her portion as that which shall give her firmness for her task ; 
 while the cup prepared for the already " surfeited grooms " is " drugged " 
 to make their sleeping through the murder doubly sure. 
 
 Banquo. Look to the lady : 
 
 And when we have our naked frailties hid, 
 That suffer in exposure, let us meet, 
 And question this most bloody piece of work, 
 To know it farther. — Ibid., ii. 2. 
 
 The mention that they will first completely clothe their half-dressed 
 bodies which risk danger by exposure to the open night-air, serves well 
 to denote the hasty summons they have had by the ringing of the alarm- 
 bell, and to indicate the keen northern atmosphere of the castle courtyard 
 where the scene occurs. 
 
 First Mtirderer. The west yet glimmers with some streaks of day : 
 Now spurs the lated traveller apace 
 To gain the timely inn ; and near approaches 
 The subject of our watch. 
 
 Third Murderer. Hark ! / hear horses. 
 
 Banquo (Within). Give us a light there, ho ! 
 
 Second Murderer. Then 'tis he : the rest 
 That are within the note of expectation 
 Already are i' the court. 
 
 First Murderer. His horses go about. 
 
DRAMATIC LAWS AND ART. 9i 
 
 Third Murderer. Almost a mile : but he does usually. 
 So all men do, from hence to the palace-gate 
 Make it their walk. — Macb., iii. 3. 
 
 With vividness do the several touches introduced here set the actual 
 spot before our imagination, and serve to account for Banquo and 
 Fleance being on foot when their attackers lie in wait for them. 
 
 Marcellus. Horatio says 'tis but our fantasy, 
 And will not let belief take hold of. him, 
 Touching this dreaded sight, twice seen of us : 
 Therefore I have entreated him along 
 With us to watch the minutes of this night ; 
 That, if again this apparition come, 
 He may approve our eyes, and speak to it. 
 
 Horatio. Tush, tush, 'twill not appear. — Hamlet, i. i. 
 
 This incredulity of Horatio as to the dead king's spirit having appeared 
 is an admirable piece of dramatic contrivance. It forestalls the want of 
 belief that exists among those who read the play or witness its 
 performance; and makes the effect produced upon Horatio's mind, when 
 the spectre actually comes, excite a correspondent impression of reality 
 and awe upon the readers or spectators. 
 
 Hamlet. My lord, you played once in the university, you say ? — Ibid., iii. 2. 
 
 The prince thus adverts to Polonius's boast as though it were some- 
 thing that the old courtier had just said ; while we are allowed to perceive 
 that he has been in the habit of vaunting his having acted in the 
 classical plays which it was the custom for college students to perform. 
 
 Gloster. Then, pr'ythee get thee gone : if, for my sake. 
 Thou wilt o'ertake us, hence a mile or twain, 
 r the way towards Dover, do it for ancient love ; 
 And bring some covering for this naked soul. 
 Which I '11 entreat to lend me. — Lear., iv. i. 
 
 This request of Gloster's, followed by the old man's compliance 
 with it, serves the dramatic purpose of accounting for Edgar's subse- 
 quent appearance in better clothing than his Bedlam beggar's blanket ; 
 and, at the same time, serves the moral purpose of showing Gloster's 
 thought for the unfortunate, elicited by his own misfortunes. 
 
 Gloster. Sirrah, naked fellow, — 
 
 Edgar. Poor Tom 's a-cold. (Aside) I cannot daub it farther. — Ibid., iv. 1. 
 
 Very artistically introduced are those few aside-spoken words at the 
 present juncture. They denote the son's grief at his father's calamity, 
 incapacitating him from any longer sustaining his assumed character ; 
 and they bring the Bedlam beggar's jargon to a close at a period of the 
 play when no longer needed. 
 
 Othello. Good Michael, look you to the guard to-night. — 0th., ii. 3. 
 
 These few words, seemingly insignificant, are of important dramatic 
 use. They give augmented effect to Othello's subsequent anger at 
 Cassio's being betrayed not only into neglect of duty in preserving 
 order, but into breach of order himself ; while they set well before the 
 mind Othello's trust and confidence in Cassio as his chosen officer 
 and his liking for him as a personal friend, calling him by his Christian 
 
92 THE SHAKESPEARE KEY. 
 
 name, " Michael," which, after the one final impressive appeal (" How 
 comes it, Michael, you are thus forgot ?"), he never again uses. 
 Lepidus. Here comes the noble Antony. 
 
 Enter Antony and Ventidius. 
 Enobarbus. And yonder Caasar. 
 
 Enter Cesar, Mec^nas, and Agrippa. 
 Antony. If we compose well here, to Parthia: 
 Hark you, Ventidius. 
 
 Ct^sar. I do not know, 
 
 Mecaenas ; ask Agrippa. — Ant. &• C, ii. 2. 
 
 This by-play of the two principals in the approaching interview, each 
 speaking apart with his respective adherent, well marks their assumed 
 indifference, their real displeasure, and their deferring as long as pos- 
 sible the moment of mutual salutation. 
 
 Queen. Whiles yet the dew 's on ground, gather those flowers ; 
 Make haste : who has the note of them ? 
 
 First Lady. I, madam. 
 
 Queen. Despatch. [Exemtt Ladies. 
 
 Now, master doctor, have you brought those drugs ? . . . 
 Doctor, your service for this time is ended ; 
 Take your own way. 
 
 Cornelius (Aside). I do suspect you, madam ; 
 But you shall do no harm. 
 
 Queen {to Pisanio). Hark thee, a word. 
 
 Cornelius {.45ide). I do not like her. She doth think she has 
 Strange lingering poisons : I do know her spirit, 
 And will not trust one of her malice with 
 A drug of such fell nature. Those she has 
 Will stupefy and dull the sense awhile. . . . 
 
 Queen. No farther service, doctor. 
 Until I send for thee. 
 
 Cornelius. I humbly take my leave. [Exit. . . 
 
 Queen. Call my woman : think on my words. [Exit Pisanio. . . . 
 ... I have given him that 
 Which, if he take, shall quite unpeople her 
 Of leigers for her sweet ; and which she after. 
 Except she bend her humour, shall be assur'd 
 To taste of too. 
 
 Re-enter Pisanio and Ladies. 
 So, so ; well done, well done : 
 The violets, cowslips, and the primroses. 
 Bear to my closet. — Cym., i. 6. 
 
 It is worthy of observation how the dramatist, in the above little 
 scene, has managed the various points of situation and characteristic 
 indication. He makes the Queen despatch her ladies for the flowers 
 while she asks the doctor for the deadly drugs which she has bid him 
 compound for her; introduces Pisanio, that the Queen may speak with 
 him while Cornelius soliloquises on the real nature of the drugs with 
 which he has supplied her, thus letting the audience into the secret of 
 their being harmless ; causes her to dismiss the doctor that she may 
 give the drug to Pisanio ; then sends the latter to call her women while 
 she muses upon the result of her gift, and her farther intentions with 
 regard to more of the same compound. Especially deserving of notice 
 is the mode in which Shakespeare has employed the incident of flowers 
 
DRAMATIC LAWS AND ART. 93 
 
 culled for medicinal preparations on the present occasion, and on that 
 previously cited from " Romeo and Juliet." In the one, the good old 
 Friar Laurence himself gSitheis them, descanting with kindly enthusiasm 
 on their varied qualities and purposes ; in the other, the wicked Queen 
 bids her ladies gather them, turning them herself to pernicious account, 
 making them a cloak to her evil designs, and by affecting to busy herself 
 "with the perfumes" and "confections" to be made from them, she 
 screens the "drugs" and "poisonous compounds" in which she secretly 
 deals. 
 
 Imogen. Take not away the taper, leave it burning. — Cym., ii. 2. 
 By this slight touch, the poet provides, with the most natural effect, 
 for the circumstance of lachimo being able to see all the details of that 
 most exquisite of depicted bed-chambers, and to note them down in aid 
 of his scoundrel design. 
 
 Imogen. Thou told'st me, when we came from horse, the place 
 Was near at hand. — Ibid., iii. 4, 
 
 The above allusion serves to show that the speaker and her faithful 
 attendant have performed the previous portion of their long journey by 
 riding, and have now alighted on account of the more rugged and 
 mountainous district through which their way lies. 
 
 Arviragus. I am weak with toil, yet strong in appetite. 
 Guiderius. There is cold meat i' the cave ; we '11 browse on that, 
 Whilst what we have kill'd be cook'd. — Ibid., iii. 6. 
 
 The mention of this " cold meat " is one of the dramatist's well- 
 devised touches to denote the youths' hunter-hunger, also to account 
 for Imogen's finding something to eat when she enters the cave, and 
 for Belarius's exclamation when he looks in and beholds her seated 
 there : " But that it eats our victuals, I should think here were a fairy." 
 
 Cloten. My horse is tied up safe : out, sword, and to a sore purpose ! Fortune, put 
 them into my hand ! This is the very description of their meeting-place ; and the fellow 
 dares not deceive me. — Ibid., iv. i. 
 
 By making Cloten also refer to his horse, the dramatist maintains 
 the point of travelling on horseback during the earlier portion of the 
 journey, and dismounting when among the Welsh hills. 
 
 There are many passages where our dramatist draws special atten- 
 tion to certain points that require to be well impressed upon the notice 
 of the audience or reader. 
 
 Miranda. You have often 
 
 Begun to tell me what I am ; but stopp'd. 
 And left me to a bootless inquisition. 
 Concluding, " Stay ; not yet." 
 
 Prospero. The hmir 's now come ; 
 
 The very minute bids thee ope thine ear : 
 Obey, and be attentive. . . . Thy false uncle — 
 Dost thou attend me ? 
 
 Miranda. Sir, most heedfuUy. 
 
 Prospero. Being once perfected how to grant suits. 
 How to deny them, . . . Thou attend'st not. 
 
 Miranda. O, good sir, I do. 
 
 Prospero. I pray thee, mark me. . . . 
 
 Dost thou hear ? 
 
 Miranda. Your tale, sir, would cure deafness. . . . 
 
94 THE SHAKESPEARE KEY. 
 
 Prospero. . . . Hear a little farther, 
 
 And then I Ml bring thee to the present business 
 Which now 's upon 's ; without the which this story- 
 Were most impertinent. — Temp., i. 2. 
 
 In the above dialogue Shakespeare, through the occasional reminding 
 words of Prospero to his daughter, bespeaks the unflagging attention 
 of the audience to the narrative which explains the pre-incidents of the 
 dramatic story. 
 
 Abhorson. Tell him, he must awake, and that quickly too. 
 
 Clown. Pray, Master Barnardine, awake till you are executed, and sleep afterwards. 
 
 Abhorson. Go in to him, and fetch him out. 
 
 Clown. He is coming, sir, he is coming; I hear his straw rustle.— M. for M.,\v. 3. 
 
 By the concluding vivid touch how forcibly we are made to see the 
 caged wild-beast man couching in his lair, with the unwillingness of 
 his keepers to enter his den and fetch him forth. 
 
 Duke. Thanks, good Escalus, for thy much goodness. 
 There 's more behind that is more gratulate. . . . 
 
 . . . Dear Isabel, 
 I have a motion much imports your good ; 
 Whereto if you HI a willing ear incline, 
 What 's mine is yours, and what is yours is mine. 
 So, bring us to our palace ; where we '11 show 
 What's yet behind, that's meet you all should know. — Ibid., v. i. 
 
 This triple reference to the speaker's intention of espousing Isabel is 
 made by way of impressing that intention on the minds of those who 
 . see or read the play. 
 
 ^geon. There had she not been long, but she became 
 A joyful mother of two goodly sons ; 
 And, which was strange, the one so like the other. 
 As could not be distinguished but by names. 
 That very hour, and in the self-same inn, 
 A poor mean woman was delivered 
 Of such a burden, male twins, both alike. 
 Those — for their parents were exceeding poor — 
 I bought, and brought up to attend my sons. . . . 
 My youngest boy, and yet my eldest care. 
 At eighteen years became inquisitive 
 After his brother ; and importun'd me 
 That his attendant — for his case was like. 
 Reft of his brother, but retained his name — 
 Might bear him company in quest of him. — Com. of E., i. 1. 
 
 The above particulars are introduced to show that the four boys 
 originally had some distinguishing appellation ; but that afterwards one 
 of each pair of twins, in remembrance of his lost brother, took his 
 name. That the two pair of twins in the play should be named alike 
 was necessary for the dramatic equivoke. 
 
 Shylock. Three thousand ducats — well. 
 Bassanio. Ay, sir, for three months. 
 Shylock. For three months — well. 
 
 Bassanio. For the which, as I told you, Antonio shall be bound. 
 Shylock. Antonio shall become bound — well. 
 
 Bassanio. May you stead me ? Will you pleasure me ? Shall I know your answer ? 
 Shylock. Three thousand ducats for three months, and Antonio bound. . . . Three 
 thousand ducats. I think I may take his bond . . . 
 
 ... By the near guess of my memory, 
 
DRAMATIC LAWS AND ART. 95 
 
 I cannot instantly raise up the gross 
 
 Of full three thousand ducats. What of that ? 
 
 Tubal, a wealthy Hebrew of my tribe, 
 
 Will furnish nie. But soft I how many months 
 
 Do you desire ? . . . 
 
 . . . Ay, ay, three thousand ducats. 
 
 Antonio. And for three months. 
 
 Shylock. I had forgot : — three months. You told me so. 
 Well then, your bond ; and let me see, — but hear you ; 
 Methought you said you neither lend nor borrow 
 Upon advantage. . . . 
 
 Three thousand ducats — 'tis a good round sum. 
 Three months from twelve, then let me see the rate — . . . 
 Go with me to a notary, seal me there 
 Your single bond ; and, in a merry sport, 
 If you repay me not on such a day. 
 In such a place, such sum or sums as are 
 Express'd in the condition, let the forfeit 
 Be nominated for an equal pound 
 Of your fair flesh, to be cut off and taken 
 In what part of your body pleaseth me. — Mer. of V., i. 3. 
 
 With consummate dramatic skill has Shakespeare (under the natural 
 semblance of the usurer's hesitation to lend the sum required) kept in 
 view by repetition the terms of the loan, and the main circumstance 
 which weighs with Shylock, — the " bond " that Antonio enters into, — 
 while at the same time the Jew takes pains to conceal his own 
 malignant interest in the point. After letting fall the word, he turns 
 off attention from it, by the words " let me see, — but hear 3'ou" ; and 
 goes on to speak of another subject. Then, when he returns to the 
 essential point he mentions it lightly, speaks of a " merry sport" ; and 
 afterwards calls it " this merry bond." 
 
 Salarino. Antonio hath a ship of rich lading wrecked on the narrow seas ; the 
 Goodwins, / think, they call the place ; a. ■very dangerous flat, and fatal, where the 
 carcases of many a tall ship lie buried, as they say. — Ibid., iii. i. 
 
 By making the Italian speaker name the celebrated Goodwin Sands 
 thus dubiously, and advert to its terrible quicksands with a kind of 
 hearsay description, the dramatist keeps strongly present to the mind 
 that the scene of his play is abroad. For a similar art-purpose he 
 previously (act ii., sc. 7), throws in the words, " they have in England a 
 coin that bears the figure of an angel stamped in gold." 
 
 Portia. Take this same letter. 
 
 And use thou all the endeavour of a man 
 In speed to Padua : see thou render this 
 Into my cousin's hand. Doctor Bellario ; 
 And, look, what notes and garments he doth give thee, 
 Bring them, I pray thee, with imagin'd speed 
 Unto the Tranect, to the common ferry 
 Which trades to Venice. — Ibid., iii. 4. 
 
 Duke. This letter from Bellario doth commend 
 A young and learned doctor to our court. 
 Where is he ? 
 
 Nerissa. He attendeth here hard by. 
 To know your answer, whether you '11 admit him. 
 
 Duke. With all my heart. Some three or four of you 
 Go give him courteous conduct to this place. 
 Meantime the court shall hear Bellario's letter. 
 
96 THE SHAKESPEARE KEY. 
 
 Clerk [Reads). "Your grace shall understand, that at the receipt of your letter I 
 am very sick : but in the instant that your messenger came, in loving visitation was 
 with me a young doctor of Rome ; his name is Balthazar. I acquainted him with the 
 cause in controversy between the Jew and Antonio the merchant: we turned o'er 
 many books together: he is furnished with my opinion; which, bettered with his own 
 learning (the greatness whereof I cannot enough commend), comes with him, at my 
 importunity, to fill up your grace's request in my stead. I beseech you, let his lack of 
 years be no impediment to let him lack a reverend estimation ; for I never knew so 
 young a body with so old a head." . . . 
 
 Portia. Clerk, draw a deed of gift. 
 
 Shylock. I pray you, give me leave to go from hence ; 
 I am not well : send the deed after me. 
 And I will sign it. — Mer. of F., iv. i. 
 
 Portia. Inquire the Jew's house out, give him this deed, 
 And let him sign it : we '11 away to-night. 
 And be a day before our husbands home : 
 This deed will be well welcome to Lorenzo. —Ibid., iv. 2. 
 
 Gratiano. My lord Bassanio gave his ring away 
 Unto the judge that begg'd it, and indeed 
 Deserv'd it too ; and then the boy, his clerk. 
 That took some pains in writing, he begg'd mine. — Ibid., v. i. 
 
 The above-cited points are all manifestations of artistic skill, whereby 
 the dramatist plausibly explains his heroine's being supplied with the 
 needful documents and apparel by her famous lawyer-cousin for carrying 
 on her design of rescuing her husband's friend from his perilous 
 dilemma; and also Nerissa's being provided with " a deed of gift," which 
 she has but to draw forth from her lawyer-clerk's bag of papers, and copy 
 neatly out for the Jew to sign. 
 
 Oliver. Where will the old duke live ? 
 
 Charles. They say, he is already in the forest of Arden, and a many merry men 
 with him ; and there they live like the old Robin Hood of England. — As You L., i. i. 
 
 The same remark applies to the above passage as to the second 
 one from the "Merchant of Venice," previously cited. 
 
 Celia. I '11 put myself in poor and mean attire. 
 And with a kind of timber smirch my face. — Ibid., i. 3, 
 
 Oliver. If that an eye may profit by a tongue. 
 Then should I know you by description ; 
 Such garments, and such years : " The boy is fair. 
 Of female favour, and bestows himself 
 Like a ripe sister : but the woman low. 
 And browner than her brother." — Ibid., iv. 3. 
 
 By the latter of these passages, the dramatist maintains the truth of 
 the touch contained in the former. 
 
 First Soldier. What say you to his expertness in war ? 
 
 Parolles. Faith, sir, he has led the drum before the English tragedians — to belie 
 him I will not — and more of his soldiership I know not ; except, in that country, he 
 had the honour to be the officer at u, place there called Mile-end, to instruct for the 
 doubling of files. — AlVs W., iv. 3. 
 
 By the italicised words, the dramatist reminds us that the scene of 
 the play is laid abroad ; thus enabling him to introduce native allusions 
 that otherwise would be misplaced. And so with the next passage 
 quoted : — 
 
 Sir Toby. As many lies as will lie in thy sheet of paper, although the sheet were 
 big enough for the bed of Ware in England, set 'em down. — Tw. N., iii. 2. 
 
DRAMATIC LAWS AND ART. 97 
 
 Viola. He nam'd Sebastian : I my brother know 
 Yet living in my glass ; even such, and so, 
 In favour was my brother : and he went 
 Still in this fashion, colour, ornament, — 
 For him' I imitate. — Tw. N., iii. 4. 
 
 This accounts with unforced effect for Viola's being dressed so 
 precisely like her brother as to heighten the natural resemblance 
 between the twins, and cause their being taken for each other during 
 the course of the play. * 
 
 King Richard. Barkloughly Castle call they this at hand ? 
 
 Aiimerle. Yea, my lord. How brooks your grace the air, 
 After your late tossing on the breaking seas ? 
 
 King Richard. Needs must I like it well : I weep for joy 
 To stand upon my kingdom once again. — R. II., iii. 2. 
 
 By the poetically worded question put into Aumerle's mouth, the 
 dramatist brings well before the mind that the king has just crossed 
 over from Ireland. 
 
 Falstaff. I grant you I was down and out of breath ; and so was he : but we rose 
 both at an instant, and fought a long hour by Shreicrsbury clock. — i H. IV., v. 4. 
 
 This mention of the church-clock by its name not only gives the 
 humorous effect of pretended exactness to Sir John's account of his 
 exploit, but it serves as a reminder of the site of the scene represented 
 and the celebrated event enacted — the famous battle of Shrewsbury. 
 
 If you be not too much cloyed with fat meat, our humble author will continue 
 the story, with Sir John in it, and make you merry vnth fair Katharine of France : 
 where, for anything I know, Falstaff shall die of a sweat unless already he be killed 
 with your hard opinions; for Oldcastle died a martyr, and this is not the man. — 
 2H.IV. (Epilogtie). 
 
 This sentence puts the crowning point to the evidence that the 
 character of Falstaff originally bore the name of Oldcastle ; and it 
 testifies how anxious Shakespeare was to mark his having had no 
 intention of associating the character of the witty knight with the 
 heroic sufferer whose name he had at first been given. 
 
 Porter. But this place is too cold for hell. I '11 devil-porter it no farther. — Macb., ii. 3. 
 Hamlet. The air bites shrewdly ; it is very cold. 
 Horatio. It is a nipping and an eager air. — Hamlet, i. 4. 
 Lear. My wits begin to turn. 
 Come on, my boy: how dost, my boy ? Art cold ? 
 I am cold myself. — Lear, iii. 2. 
 
 Edgar. Through the sharp hawthorn blows the cold wind. 
 H'm ! go to thy cold bed, and warm thee. . . . 
 . . . Bless thy five wits ! Tom 's a-cold ! . . . 
 Fool. This cold night will turn us all to fools and madmen. . . . 
 Edgar. Set not thy sweet heart on proud array. Tom 's a-cold. . . . 
 Fool. Now a little fire in a wild field were like an old lecher's heart, a small spark, 
 all the rest on 's body cold. — Ibid., iii. 4. 
 
 It is worthy of remark how the allusion to " cold" is used by the 
 dramatist in the above citations from three of his great tragedies, the 
 scene of each of which is laid in a northern climate. In " Macbeth," 
 the locality of the murder — the bleak courtyard of a Scottish thane's 
 castle — is kept in view by the grimly facetious allusion to the bitterness 
 
gS , THE SHAKESPEARE KEY. 
 
 of the nigh put into the Porter's mouth ; in " Hamlet," the platform 
 of the royal Danish fortress-residence, with the shiver of those who 
 come thither, partly arising from chill, partly from awe at the expected 
 apparition ; in " Lear," the repeated reference to the intensity of pre- 
 vailing " cold " during that night of wandering on the open heath 
 serves well to maintain the effect of inclemency and exposure to the 
 raging storm. 
 
 Cassia. 'Fore heaven, an excellent son^. 
 
 Icigo. I learned it in England, where indeed they are most potent in potting. — 
 0th., ii. 3. 
 
 Another of those reminders that the spot where the speaker is, lies 
 abroad. 
 
 Sec. Gent. But, pray ye, tell me. 
 Is she sole child to the king ,' 
 First Gent. His only child. 
 He had two sons — if this be worth your hearing, 
 Mark it — the eldest of them at three years old. 
 I' the swathing clothes the other, from their nursery 
 Were stolen ; and to this hour no guess in knowledge 
 Which way they went. — Cyni., i. i. 
 
 Here the dramatist uses a similar emphatic means of drawing 
 attention to an antecedent point in the story, which we have shown 
 that he employs in an early scene of " The Tempest." 
 
 O Cymbeline ! Heaven and my conscience knows 
 Thou didst unjustly banish me : whereon. 
 At three and two years old, I stole these babes; 
 Thinking to bar thee of succession, as 
 Thou reft'st me of my lands. — Ibid., iii. 3. 
 
 And by this reminiscent touch Shakespeare again brings before the 
 mind that prevenient particular of the dramatic story which it is 
 needful to remember. 
 
 There is another practice of his deserving notice ; it is that he 
 bespeaks attention to purposely insinuating, blundering, affected, or 
 obscure diction, so that it shall not fail of being seen to be intentional 
 on his part: — - 
 
 Launcelot. The old proverb is very well parted between my master Shylock and vou. 
 sir : you have the grace of God, sir, and he hath enough. 
 Bassanio. Thou speak'st it well. — Mer. of V., ii. 2. 
 
 Launcelot Gobbo, alluding to the old proverb, " The grace of God is 
 better than riches," gives a significant pause before the word " enouo'h ; '" 
 so that it may imply either ' sufficing wealth ' or the gulp with which 
 he swallows that which forms the diametrically and diabolically opposite 
 extreme to " the grace of God." Bassanio's comment shows that the 
 author meant this to be so understood. 
 
 Le Beau. Fair princess, you have lost much good sport. 
 
 CeUa. Sport ! of what colour ? 
 
 Le Beau. What colour, madam ! how shall I answer you. — As You L., i. 2. 
 
 Celia; in banter of Le Beau's affected pronunciation of the word 
 " sport " (which we may imagine him to pronounce • spawt ' or ' spot,') 
 asks him the affectedly expressed question, " of what colour?" for 'of 
 
DRAMATIC LAWS AND ART. gg 
 
 what kind ?' And he, mystified by her words, replies, "How shall I 
 answer you ? " 
 
 Helena. I do affect a sorrow, indeed ; but I have it too. 
 
 Lafeu. Moderate lamentation is the right of the dead ; excessive grief the enemy to 
 the living. 
 Helena. If the living be enemy to the grief, the excess makes it soon mortal. . . . 
 Lafeu. How understand we thai? — AlVs W., i. i. 
 
 Helena alludes veiledly to her hopeless passion; and Lafeu, not 
 comprehending her enigmatic language, asks himself in what' sense it is 
 to be understood ; the dramatist thereby drawing the attention of the 
 audience to its intended obscurity. 
 
 Sir Toby. Will you encounter the house ? my niece is desirous you should enter, if 
 your trade be to her. 
 
 Viola. I am bound to your niece, sir ; I mean, she is the list of my voyage. 
 
 Sir Toby. Taste your legs, sir : put them to motion. 
 
 Viola. My legs do better understand me, sir, than I understand what you mean by 
 bidding me taste my legs. — Ttu. N., iii. i. 
 
 Viola draws attention to the fashionably euphuistic jargon in which 
 Sir Toby addresses her by showing that it is hardly to be understood, 
 though she humours him by answering him in his own strain of 
 affectation. 
 
 Prince Henry. Why, then, your brown bastard i"s your only drink ; for, look you, 
 Francis, your white canvas doublet will sully: in Barbary, sir, it cannot come to 
 so much. 
 
 Francis. What, sir ? — i H. 7K, ii. 4. 
 
 The fact that the prince is amusing himself by obfuscating the 
 tapster lad with some of the rambling irrelevance which was one form 
 of jesting rejoinder when Shakespeare wrote, is made obvious by the 
 fellow's bewildered reply. 
 
 Bardolph. Away, you whoreson upright rabbit, away ! 
 
 Page. Away, you rascally Althea's dream, away ! 
 
 Prince Henry. Instruct us, boy; what dream, boy? 
 
 Page. Marry, my lord, Althea dreamed she was delivered of a firebrand ; and there- 
 fore I call him her dream. 
 
 Prince Henry. A crown's worth oi good interpretation: there it is, boy. [Givinir 
 him money.] — 2 H. IV., ii. :s. '' 
 
 The dramatist marks the blunder in the boy's mythology by the 
 prince's ironical commendation and payment. 
 
 Sec. Servant. And he 's as like to do 't as any man I can imagine. 
 
 Tliird Servant. Do 't ! he will do 't ; for, look you, sir, he has as manv friends as 
 enemies ; which friends, sir, as it were, durst not, look you, sir, show themselves, as we 
 term it, his friends whilst he 's in directitude. 
 
 First Servant. Directitude ! what 's that ? 
 
 Third Servant. But when they shall see, sir, his crest up again, and the man in 
 blood, they will out of their burrows, like conies after rain, and revel all with him.— 
 Coriol., iv. 5. 
 
 Very pleasantly does the author draw attention to the Third Servant's 
 atternpt to coin some such fine long word as ' discreditude ' or 'dejecti- 
 tude,' by making the First Servant interrupt him to ask the meaning cf 
 his stumbled-upon version of the intended word; and still more 
 pleasantly follows up the joke by making the Third Servant avoid any 
 
 H 2 
 
THE SHAKESPEARE KEY. 
 
 difficulty of explanation, running on with his own harangue instead of 
 noticing his fellow-servant's inquiry. 
 
 Poet. You see this confluence, this great flood of visitors. 
 I have, in this rough work, shap'd out a man, 
 Whom this beneath world doth embrace and hug 
 With amplest entertainment ; my free drift 
 Halts not particularly, but moves itself 
 In a wide sea of wax : no levell'd malice 
 Infects one comma in the course I hold ; 
 But flies an eagle flight, bold, and forth on, 
 Leaving no tract behind. 
 
 Pain. How shall I understand you ? — Timon, i. i. 
 
 By the sycophantic painter's demand here thrown in, Shakespeare lets 
 us see his intention of tincturing the poetaster's diction with stilted 
 peculiarity. [See Affected Phraseology.] 
 
 First Player. But who, oh, who had seen the mobled queen — 
 
 Hamlet. The " mobled queen ? " 
 
 Polonius. That's good ; " mobled queen " is good. — Hamlet, ii. 2. 
 
 Hamlet's repetition of the epithet " mobled " (which was a form of 
 'muffled') serves to show that it is an unusual term, and that it is 
 one to which his correct taste objects, as savouring somewhat 'of 
 affectation ; while Polonius's remark makes manifest that a commoner 
 taste regards it as a rather select epithet. 
 
 Gtiildenstern. O, my lord, if my duty be too bold, my love is too unmannerly. 
 Hamlet. I do not well understand that. — Ibid., iii. 2. 
 
 The prince's rebuke to the fawning insincerity of the courtier's 
 protestation, aids to impress its hollowness and studied expression 
 upon the audience. 
 
 Osric. The king, sir, hath wagered with him six Barbary horses : against the which 
 he has imponed, as I take it, six French rapiers and poniards, with their assigns, as 
 girdle, hangers and so : three of the carriages, in faith, are very dear to fancy, very 
 responsive to the hilts, most delicate carriages, and of very liberal conceit. . . . 
 
 Hamlet. . . . Why is this imponed, as you call it } — Ibid., v. 2. 
 
 The prince's concluding words serve to mark his raillery of the fine 
 gentleman's mincing pronunciation of" imponed " for 'impawned.' 
 
 Fool. Let go thy hold when a great wheel runs down a hill, lest it break thy neck 
 with following it ; but the great one that goes up the hill, let him draw thee after. 
 When a wise man gives thee better counsel, give me mine again : I would have none 
 but knaves follow it, since a fool gives it. 
 
 That, sir, which serves and seeks for gain. 
 
 And follows but for form. 
 Will pack when it begins to rain, 
 
 And leave thee in the storm. 
 But I will tarry ; the fool will stay, 
 
 And let the wise man fly ; 
 The knave turns fool that runs away ; 
 The fool no knave, perdy. 
 Kent. Where learned you this, fool ? 
 Fool. Not i' the stocks, fool. — Lear, ii. 4. 
 
 By the sentences we have italicised Shakespeare has taken care 
 to denote the bitter and sarcastic irony of the prose " counsel " and 
 
DRAMATIC LAWS AND ART. 
 
 of the doggrel jingle of "knave" and "fool" which inculcate the 
 wisdom of deserting a benefactor in his reverses. 
 
 Dolabella. Most noble empress, you have heard of me ? 
 
 Cleopatra. I cannot tell. 
 
 Dolabella. Assuredly, you know me. 
 
 Cleopatra. No matter, sir, what I have heard or known. 
 You laugh when boys or women tell their dreams : 
 Is 't not your trick ? 
 
 Dolabella. I understand not, madam. 
 
 Cleopatra. I dream'd there was an Emperor Antony : — 
 O, such another sleep, that I might see 
 But such another man \—Ant. &• C, v. 2. 
 
 Dolabella's words serve to indicate the wild digression of Cleopatra's 
 passionate regret. 
 
 Another feature in Shakespeare's dramatic art is the mode in which 
 he makes a scene begin with a sudden reference to a person or persons 
 unnamed, but perfectly understood by the speaker and audience ; as, 
 for instance, where the haughty Coriolanus and his equally haughty 
 mother, Volumnia, refer to the objects of their scorn, the commonalty, 
 by a simple pronoun : — 
 
 I muse my mother 
 
 Does not approve me farther, whO' was wont 
 To call them woollen vassals, things created 
 To buy and sell with groats, . . . 
 
 . . . lesser had been 
 The thwartings of your dispositions, if 
 You had not show'd them how you were dispos'd 
 Ere they lack'd power to cross you. — Corial.^ iii. 2. 
 
 For Other passages similar in effect to the above, see Abrupt Com- 
 mencements. 
 
 The dramatist occasionally avoids needless explanation, or needless 
 repetition of points already known to his audience, by such devices as 
 the following : — 
 
 Baptista. Whence are you, sir ? what may I call your name ? 
 
 Pctnichio. Petruchio is my name ; Antonio's son, 
 A man well known throughout all Italy, 
 
 Baptista. I know him well : you are welcome for his sake. 
 
 Gremio. Saving your tale, Petruchio, I pray. 
 Let us, that are poor petitioners, speak too. — Tarn, of S., ii. i. 
 
 Gremio's interruption prevents the need of Petruchio's repeating to 
 Baptista the circumstance of his father's deaths which has already been 
 mentioned. 
 
 Lysimachus. Yet once more 
 
 Let me entreat to know at large the cause 
 Of your king's sorrow. 
 
 Helicanus. Sit, sir, I will recount it to you : 
 
 But see, I am prevented. — Per., v. i. 
 
 The entrance of Marina is here made to prevent the necessity of 
 Helicanus's recounting that which has been the subject of the previous 
 scenes in the drama. 
 
 Sometimes, by the introduction of certain touches, Shakespeare inge- 
 
THE SHAKESPEARE KEY. 
 
 niously imparts an antique effect to the period of the drama in which 
 they occur : — 
 
 Yet, if I knew 
 
 What hoop should hold us stanch, from edge to edge 
 
 0' the world I would pursue it. — Ant. &• C, ii. z. 
 
 Prove this a prosperous day, the three-nook'd world 
 
 Shall bear the olive freely. — Ibid., iv. 6. 
 
 sun. 
 
 Burn the great sphere thou mov'st in ! darkling stand 
 
 The varying shore o' the world. — Ibid., iv. 13. 
 
 These three allusions to theories of ancient philosophy give appro- 
 priate effect of antiquity: the first referring to the primitive idea 
 conceived of the world, that it was a circular plane or disk, not that it 
 was a sphere or globe, as by modern science it is discovered to be ; 
 the second, to another primitive idea entertained of the world, that it 
 was of triangular form ; and the third, to that tenet of early astronomy, 
 which held that the sun was a planet whirled round the earth by the 
 motion of a solid sphere in which it was fixed. 
 
 The dramatist has taken care to emphatically indicate the age of 
 two of his characters ; both of them men of marked intellect, though 
 in each of t'hem intellect is evinced with diametrically opposite effect, 
 by its accompanying moral qualities. They are Hamlet and lago. 
 In the scene with the grave-digger [S«e Dramatic Time] Hamlet's age 
 is precisely denoted ; while lago is made to say: — 
 
 I have looked upon the world ior four times seven years. — 0th., i. 3. 
 
 Very characteristically and very humorously has Shakespeare, with 
 artistic effect, denoted various samples of intoxication. There is the 
 wild natural animal, the half-savage Caliban, introduced for the first 
 time to the civilised use of fermented liquors ; there is the dogged 
 drunkenness of Barnardine, stultified into brutishness by years of 
 imprisonment without trial ; there is the perpetual fuddled condition 
 of Sir Toby, by birth a gentleman, by habit a sot; there is the sodden 
 soaking of Silence, who in his cups is stimulated into snatches of 
 songs so long as he can sit upright, but at last is floored and borne to 
 bed ; there are the pot-valiant Horner and the maudlin Peter, plied 
 by their neighbours with drink ; there is Cassio, flustered into feverish 
 mirth and as feverish piety, then into captiousness and quarrelsome 
 irritability, trying ever more and more to maintain his dignity as he 
 feels he is every instant farther losing it ; lastly, there is Lepidus, 
 with solemn pomposity showing off his desire for information on the 
 subject of crocodiles and pyramids, Octavius Cassar anxious to preserve 
 his wonted coolness and phlegm, Pompey waxing affectionately 
 magnanimous about his "father's house," Enobarbus flushed and 
 prompted to dance, and only the seasoned Antony remaining un- 
 affected by the rousing orgy on board the galley lying near Misenum. 
 We do not quote each of the above examples at full length ; but give 
 the references to the scenes where they may be found as follows : — 
 
 Caliban. Freedom, hey-day ! hey-day, freedom ! freedom I hey-day, freedom ! — 
 Temp., ii. 2. 
 
DRAMATIC LAWS AND ART. 103 
 
 Stcphano. Drink, servant-monster, when I bid thee: thy eyes are almost set in thy 
 head. . . . My man-monster hath drowned his tongue in sack. — Temp., iii. z. 
 
 Barnardine. Friar, not I : I have been drinking hard all night, and I will have more 
 time to prepare me, or they shall beat out my brains with billets : I will not consent to 
 die this day, that 's certain. — M.for M., iv. 3. 
 
 Enter Sir Toby Belch. 
 
 Olivia. By mine honour, half drunk. What is he at the gate, cousin ? 
 Sir Toby. A gentleman. 
 Olivia. A gentleman ! what gentleman ? 
 
 Sir Toby. 'Tis a gentleman here — a plague o' these pickle-herrings! — how now, sot ? 
 Clown. Good Sir Toby ! 
 
 Olivia. Cousin, cousin, how have you come so early by this lethargy ? 
 Sir Toby. Lechery ! I defy lechery. There 's one at the gate. 
 Olivia. Ay, marry, what is he ? 
 
 Sir Toby. Let him be the devil, an he will, I care not : give me faith, say I. Well, 
 it's all one. [Exit.] — Tw. N., i. 5. 
 
 Enter Sir Toby Belch, drunk, led by the Clown. 
 
 Duke. How now, gentleman ! how is 't with you ? 
 
 Sir Toby. That 's all one : he has hurt me, and there 's the end on 't. Sot, didst see 
 Dick surgeon, sot ? 
 
 Cloivn. O, he 's drunk, Sir Toby, an hour agone ; his eyes were set at eight i' the 
 morning. 
 Sir Toby. Then he 's a rogue, and a passy-measures pavin : I hate a drunken rogue. 
 Olivia. Away with him ! Who hath made this havoc with them ? 
 Sir .Andrew. I '11 help you. Sir Toby, because we '11 be dressed together. 
 Sir Toby. Will you help ? An ass-head, and a coxcomb, and a knave ! a thin-faced 
 knave, a gull ! 
 Olivia. Get him to bed, and let his hurt be looked to. — Ibid., v. i. 
 Shallov;. By the mass, I have drunk too much sack at supper : a good varlet. 
 Now sit down, now sit down : come, cousin. 
 Silence. Ah, sirrah ! quoth-a, — we shall 
 
 [Singing] Do nothing but eat, and make good cheer. 
 And praise heaven for the merry year ; 
 When flesh is cheap and females dear, 
 And lusty lads roam here and there 
 
 So merrily, 
 And ever among so merrily . . . 
 Falstaff. Carry Master Silence to bed. — 2 H. IV., v. 3. 
 
 First Neighbour. Here, neighbour Horner, I drink to you in a cup of sack: and fear 
 not, neighbour, you shall do well enough. 
 
 Second Xcighbour. And here, neighbour, here's a cup of charneco. 
 
 Third Neighbour. And here's a pot of good double beer, neighbour : drink and fear 
 not your man. 
 
 Horner. Let it come, i' faith, and I '11 pledge you all ; and a fig for Peter 
 
 First 'Prentice. Here, Peter, I drink to thee: and be not afraid. 
 
 Second 'Prentice. Be merry, Peter, and fear not thy master : fight for credit of the 
 ■prentices. 
 
 Peter. I thank you all : drink, and pray for me, I pray you ; for, I think, I have 
 taken my last draught in this world. Here, Robin, an if I die, I give thee my apron : 
 and. Will, thou shalt have my hammer : and here, Tom, take all the money that I 
 have. O Lord, bless me, I pray God ! for I am never able to deal with my master, he 
 hath learnt so much fence already. 
 
 Salisbury. Come, leave your drinking, and fall to blows. . . . 
 
 Horner. Masters, I am come hither, as it were, upon my man's instigation, to prove 
 him a knave, and myself an honest man : and touching the Duke of York, I will take 
 my death, I never meant him any ill, nor the king, nor the queen : and therefore, 
 Peter, have at thee with a downright blow. 
 
 York. Despatch : this knave's tongue begins to double. — 2 H. VI., ii. 3. 
 
104 THE SHAKESPEARE KEY. 
 
 Cassio. 'Fore heaven, they have given me a rouse already. 
 
 Montana. Good faith, a little one ; not past a pint, as I am a soldier. 
 
 lago. Some wine, ho ! 
 
 (Singing) And let me the canakin, clink, clink ; . . . 
 
 Cassio. 'Fore heaven, an excellent song. 
 
 lago. I learned it in England, where indeed they are most potent in potting; . . . 
 
 Cassio. Is your Englishman so exquisite in his drinking ? ... To the health of our 
 general ! 
 
 Montano. I am for it, lieutenant ; and I '11 do you justice. 
 
 lago. O sweet England ! 
 
 (Singing) King Stephen was a worthy peer, . . . 
 
 Cassio. Why, this is a more exquisite song than the other. 
 
 lago. Will you hear it again .' 
 
 Cassio. No ; for I hold him to be unworthy of his place, that does those things. 
 Well, heaven 's above all ; and there be souls must be saved, and there be souls must 
 not be saved. 
 
 lago. It 's true, good lieutenant. 
 
 Cassio. For mine own part — no offence to the general, nor any man of quality — I 
 hope to be saved. 
 
 lago. And so do I too, lieutenant. 
 
 Cassio. Ay, but, by your leave, not before me ; the lieutenant is to be saved before 
 the ancient. Let 's have no more of this ; let 's to our affairs. Forgive us our sins ! 
 Gentlemen, let 's look to our business. Do not think, gentlemen, I am drunk : this is 
 my ancient ; — this is my right hand, and this is my left hand : I am not drunk now ; 
 I can stand well enough, and speak well enough. 
 
 All: Excellent well. 
 
 Cassio. Why, very well, then ; you must not think, then, that I am drunk. — 0th., ii. 3. 
 
 Lepidus. You have strange serpents there. 
 Aiitony. Ay, Lepidus. 
 
 Lepidus. Your serpent of Egypt is bred, now, of your mud by the operation of your 
 sun : so is your crocodile. 
 Antony. They are so. 
 
 Pompey. Sit— and some wine! A health to Lepidus. 
 Lepidus. I am not so well as I should be, but I '11 ne'er out. 
 Enobarbtis. Not till you have slept ; I fear me, you '11 be in till then. 
 Lepidus. Nay, certainly, I have heard, the Ptolemies' pyramises are very goodly 
 things ; without contradiction, I have heard that. . . . What manner o' thing is 
 your crocodile ? 
 Antony. It is shaped, sir, like itself: . . . 
 Lepidus. What colour is it of? 
 Antony. Of its own colour too. 
 Lepidus. 'Tis a strange serpent. 
 Antony. 'Tis so : and the tears of it are wet. 
 Ccesar. Will this description satisfy him ? 
 
 Antony. With the health that Pompey gives him, else he is a very epicure. . . . 
 Pompey. This health to Lepidus ! 
 
 Antony. Bear him ashore. I '11 pledge it for him, Pompey. . . . 
 Enobarbus. There 's a strong fellow, Menas ! 
 
 'Pointing to the Attendant who carries q^ Lepidus. 
 Menas. Why ? 
 
 Enobarbus. He bears 
 
 The third part of the world, man, see'st not ? 
 
 Menas. The third part, then, is drunk : would it were all. 
 That it might go on wheels ! 
 
 Enobarbus. Drink thou ; increase the reels. . . . 
 Shall we dance now the Egyptian bacchanals. 
 And celebrate our drink ? . . . 
 
 CcEsar. What would you more ? Pompey, good night. Good brother. 
 Let me request you off : our graver business 
 Frowns at this levity. Gentle lords, let 's part ; 
 
DRAMATIC TIME. I05 
 
 You see, we have burnt our cheeks : strong Enobarbe 
 Is weaker than the wine ; and mine own tongue 
 Sphts what it speaks : the wild disguise hath almost 
 Antick'd us all. What needs more words ? Good night. 
 Good Antony, your hand. 
 
 Pompcy. I '11 try you on the shore. 
 
 Antony. And shall, sir : give 's your hand. 
 
 Pompcy. Antony, 
 
 You have my father's house, — But, what ? we are friends. 
 Come, down into the boat. 
 
 Enobaybiis. Take heed you fall not. — Ant. &• C, ii. 7. 
 
 For numerous other resources of Shakespeare's dramatic art see the 
 following headings : — Indications of Look, Gesture, &c., Indirect 
 Praise of Other Characters, Historians' Passages Adopted, Brief 
 Scenes, Closing Scenes, Choruses, and Dumb Shows. 
 
 DRAMATIC TIME. 
 
 One of the most interesting themes for stud_v among Shakespeare's 
 powers as a play-writer lies in his treatment of Dramatic Time. In the 
 first place, he has distinctly stated the usual time of stage duration for 
 a play's performance : — 
 
 Those that come to see 
 Only a show or two, and so agree 
 The play may pass, if they be still and willing, 
 I '11 undertake may see away their shilling 
 Richly in two short hours. — H. VIII. (Prologue). 
 The fearful passage of their death-mark'd love, 
 
 And the continuance of their parents' rage. 
 Which, but their children's end, naught could remove. 
 
 Is now the two hours' traffic of our stage. — R. &• ful. (Prologue). 
 
 And he has also manifested his knowledge that a play should gene- 
 rally depict a brief period : — 
 
 Our wooing doth not end like an old play; 
 Jack hath not Jill : these ladies' courtesy 
 Might well have made our sport a comedy. — 
 Come, sir, it wants a twelvemonth and a day., 
 And then 'twill end. — 
 
 That 's too long for a play. — Love's L. L., v. 2. 
 
 In the second place, he has shown that he was thoroughly acquainted 
 with the classical laws* of strictness in Dramatic Time by his plays 
 01 " The Tempest " and " The Comedy of Errors'' ; in both of which 
 the time is accurately preser\'ed within the bounds of visible repre- 
 sentation. This he has taken care to mark with great precision, and 
 denote as the play proceeds : — 
 
 Prospero. What is the time 0' the day ? 
 
 Ariel. Past the mid season. 
 
 * We have the authority of Milton (in his Introductory Essay to his " Samson 
 Agonistes ") for the due length of dramatic time in a play. He says : " The circum- 
 scription of time, wherein the whole drama begins and ends, is, according to ancient 
 rule and best example, within the space of twenty- four hours. " 
 
ic6 THE SHAKESPEARE KEY. 
 
 Prospero. At least two glasses. The time 'twixt six and now 
 Must by us both be spent most preciously. — Temp., i, 2. 
 
 My father 
 Is hard at study; pray now, rest yourself: 
 He 's safe /or these three hours. — Ibid., iii. i. 
 Now farewell, till half an hour hence. — Ibid., iii. i. 
 
 I '11 to my book ; 
 For yet, ere snpper-time, must I perform 
 Much business appertaining. — Ibid., iii. i. 
 I UI yield him thee asleep . . . 'tis a custom with him 
 / ' the afternoon to sleep.— Ziirf., iii. 2. 
 Within this half-hour will he be asleep. — Ibid., iii. 2. 
 . . . How 's the day ? 
 
 Ariel. On the sixth hour ; at which time, my lord. 
 You said our work should cease. 
 
 Prospero. I did say so, 
 
 When first I raised the tempest. — Ibid., v. 1. 
 How thou hast met us here, who three hours sinee 
 Were wreck'd upon this shore. — Ibid., v. i. 
 What is this maid, with whom thou wast at play ? 
 Your eld'st acquaintance cannot be three hours. — Ibid., v. i. 
 The best news is, that we have safely found 
 Our king and company ; the next, our ship — 
 Which, but three glasses since, we gave out split — 
 Is tight, and yare, and bravely rigg'd, as when 
 We first put out to sea. — Ibid., v. i. 
 Sir, I invite your highness, and your train, 
 To my poor cell, where you shall take your rest 
 For this one night ; which, part of it, I 'II waste 
 With such discourse as, I not doubt, shall make it 
 Go quick away ; . . . and in the morn 
 I '11 bring you to your ship, and so to Naples. — Ibid., v. 1. 
 Therefore, by law thou art condemn'd to die. — 
 
 Mgcon. Yet this my comfort — when your words are done. 
 My woes end likewise with the evening sun.^Com. of E., i. i. 
 
 Therefore, merchant. I '11 limit thee this day, 
 
 To seek thy help by beneficial help : . . . 
 
 Beg thou, or borrow, to make up the sum. 
 
 And live; if no, then thou art doom'd to die. — Ibid., i. i. 
 
 This very day, a Syracusan merchant 
 
 Is apprehended for arrival here ; 
 
 And, not being able to buy out his life. 
 
 According to the statute of the town. 
 
 Dies ere the weary sun set in the west.— Ibid., i. i. 
 
 Within this hour it will be dinner-time. — Ibid., i. 2. 
 
 Soon at five o'clock. 
 Please you, I '11 meet with you upon the mart. — Ibid., i. 2. 
 The clock hath strucken ticelvc upon the bell. — Ibid., i. ;:. 
 Sure, Luciana, it is tivo o'clock. — Ibid., ii. i. 
 
 When spake I such a word ? — 
 Even now, even here, not half an hour since. — Ibid., ii. 2. 
 In Ephesus I am but iuio hours old. — Ibid., ii. 2. 
 Come, come, Antipholus, we dine too late. — Ibid., ii. 2. 
 And let us to the Tiger all to dinner ; 
 And about evening come yourself alone 
 To know the reason of this strange restraint. — Ibid., iii. 1. 
 
DRAMATIC TIME. lo? 
 
 I '11 meet you at that place, some hour hence. — Cum. of E., iii. i. 
 
 And soon at supper-time I '11 visit you, 
 
 And then receive my money for the chain. — Ibid., iii. 2. 
 
 He had of me a chain ; at five o'clock 
 
 I shall receive the money for the same. — Ihict., iv. i. 
 
 The hour steals on ; I pray you, sir, despatch. 
 
 You hear how he importunes me : the chain. — Ibid., iv. i. 
 
 The money that you owe me for the chain. — 
 
 I owe you none till I receive the chain. — 
 
 You know I gave it you half an hour since. — Ibid., iv. i. 
 
 'Tis time that I were gone : it was two ere I left him. — Ibid., iv. 2. 
 
 By this, I think, the dial points at five. — Ibid., \, i. 
 
 This day, great duke, she shut the doors upon me, 
 
 While she with harlots feasted in my house. — 
 
 A grievous fault. Say, woman, didst thou so ? — 
 
 No. my good lord : myself, he, and my sister. 
 
 To-day did dine together. — Ibid., v. i. 
 
 Within this hour I was his bondman, sir ; 
 
 But he, I thank him, gnaw'd in two my cords. — Ibid., v. i. 
 
 \Vhy. here begins his morning story right. — Ibid., v. r. 
 
 And all that are assembled in this place. 
 
 That by this sympathised one day's error 
 
 Have suffer'd wrong, go, keep us companv 
 
 And we shall make full satisfaction. — Ibid., v. i. 
 
 But in the majority of his plays Shakespeare has substituted for the 
 antique rules of strictness in this particular an original and admirable 
 system of Dramatic Time, which permits his adopting a story that de- 
 mands scope of period to properly delineate its various incidents, to 
 develop its different characters, and to depict the multiform emotions eli- 
 cited by successive events and situations. This system is so ingenious 
 in itself, and is put into operation with so masterly a skill, that it enables 
 the reader or spectator to see a long course of time, or a limited space of 
 time, or even a simultaneous progress of protracted time and current 
 time both together, without a violation of probability or injury to natural- 
 ness of effect. The critics who first pointed out this S3-stem of combined 
 long and short time in Shakespeare's dramatic art as being invented and 
 practised by him were the Rev. N.J. Halpin and Professor Wilson, in 
 November, 1849, each gentleman laying claim to having made the dis- 
 covery by his own separate perception from study of the subject : and 
 certain is it, that every fresh and minute examination of Shakespeare's 
 process in managing Dramatic Time proves that this discovery is a 
 veritable elucidation of the scheme upon which he worked. He made 
 fresh laws in Art for himself; and regulated his method of procedure 
 according to their ordination, with equal ease and might of power. 
 Where, as in his great tragedy of "Othello," the passion demanded 
 prompt action with immediate despatch, he allows the spectator to 
 behold but a few hours' space between the conception of wrong and the 
 fulfilment of vengeance; but where, also, the impression of long-wedded 
 faith and happiness destroyed by iniquitous suggestion demanded pro- 
 tracted period, he permits the spectator to imagine that many days, 
 weeks, months have elapsed between the arrival of the married pair in 
 Cyprus and the final murder of Desdemona by her husband. 
 
io8 THE SHAKESPEARE KEY. 
 
 So in other of his dramas, where the appropriateness of stage repre- 
 sentation or the exigencies of hurried act and feeling require accelera- 
 tion, impetus, and rapid movement, he conveys the effect of brief 
 tiine ; while where latitude for a needed series of passing occurrences 
 is no less imperative, he contrives to produce the sense of lengthened 
 time. The means by which he establishes these two impressions — 
 sometimes by stated mention of particular hours or epochs, sometimes 
 by casual allusion, sometimes b)' vaguely worded inference, but always 
 of set purpose and with admirably effectual fulfilment of intended object 
 — will be made obvious by the collected citations here given ; which shall 
 first denote the traces of Short Time and then the traces of Long Time 
 in each play, so as to illustrate the dramatist's motives and plan with 
 regard to both. Thus, in " The Two Gentlemen of Verona," Shake- 
 speare having to give the effect of a passage in the lives of two j'oung 
 men which is placed before the eyes of an audience at a single sitting, 
 he contrives to impart the idea of swift progress of time by various 
 touches indicative of haste and immediate action ; but having also to 
 represent sufficient space for the several journeys from Verona to 
 Milan, the sojourn there, and the subsequent adventures of the heroes 
 and their ladies, he has thrown in such hints of lengthened time as 
 shall serve this purpose : — 
 
 Saw you my master ? — 
 
 Bid now he parted hence, to embark for Milan. — . 
 
 Twenty to one, then, he is shipp'd already. — Two G. of V., i. i. 
 
 Madam, dinner is ready, and your father stays. — Ibid., i. 2. 
 
 No more of stay ; to-morrow thou must go. — Ibid., i. 3. 
 
 Sir Proteus, your father calls for you : 
 
 He is in haste ; therefore, I pray you, go. — Ibid., i. 3. 
 
 Why muse you, sir ? 'tis dinner-time. — Ibid., ii. i. 
 Launce, away, away, aboard! thy master is shipp"d, and thou art to post tftcr 
 with oars. — Ibid., ii. 3. 
 
 I '11 send him hither to you presently.* — Ibid., ii. 4. 
 
 I must unto the road, to disembark 
 
 Some necessaries that I needs must use ; 
 
 And then I '11 presently attend you. — 
 
 Will you make haste ? — 
 
 I will. — Ibid., ii. 4. 
 
 This night he meaneth with a corded ladder 
 
 To climb celestial Silvia's chamber-window ; 
 
 Myself in counsel, his competitor. 
 
 Now, presently, I '11 give her father notice 
 
 Of their disguising and pretended flight. — Ibid., ii. 6. 
 
 Love, lend me wings to make my purpose swift. 
 
 As thou hast lent me wit to plot this drift. — Ibid., ii. 6. 
 
 For which the youthful lover now is gone, 
 
 And this way comes he with it presently.— Ibid., iii. i. 
 
 Sir Valentine, whither away so fast ? — Ibid., iii. i. 
 
 Advise me where I may have such a ladder. — 
 
 When would you use it ? pray, sir, tell me that. — 
 
 This very night ; for love is like a child, 
 
 That longs for every thing that he can come by. — 
 
 By seven o'clock I '11 get you such a ladder. — Ibid., iii. r. 
 
 * " Presently," meaning ' immediately.' 
 
DRAMATIC TIME. i°9 
 
 Bi; g-oHe .' I will not hear thy vain excuse ; ... 
 
 But, as thou lov'st thy life, make speed from hence.— riffo G. of K.,, iii. i. 
 
 Run, boy; run, run, and seek him out. — Ibid., iii. i. 
 
 The time now serves not to expostulate : 
 
 Come, I'll convey thee through the city-gate. — Ibid., iii. i. 
 
 I pray thee. Launce, an if thou see'st my boy. 
 Bid him make haste, and meet me at the north gate.— - 
 Go, sirrah, find him out. Come, Valentine. — Ibid., iii. i. 
 Thou must run to him, for thou hast stayed so long, that going will searce serve :he 
 turn. — Ibid., iii. i. 
 
 Let us into the zity presently , 
 
 To sort some gentlemen well skill'd in music. — 
 
 About it, gentlemen. . . . Even now about it. — Ibid., in. -. 
 
 Madam, good even to your ladyship. — Ibid., iv. 2. 
 
 By this pale queen of night I swear. — Ibid., iv. 2. 
 
 This is the hour that Madam Silvia 
 
 Entreated me to call, and know her mind. — Ibid., iv. 3. 
 
 Sir Eglamour, a thousand times good morrow. — Ibid., iv. 3. 
 
 I am thus early come, to know what service 
 
 It is your pleasure to command me in. — Ibid., iv. 3. 
 
 When will you go ? — 
 
 This evening coming. — Ibid., iv. 3. 
 Go presently, and take this ring with thee. — Ibid., iv. 4. 
 The sun begins to gild the western sky ; 
 And now it is about the very hour 
 That Silvia at Friar Patrick's cell should meet me. 
 ***** * 
 
 See. where she comes ! Lady, a happy evening. — 
 
 Amen, amen ! go on, good Eglamour, 
 
 Out at the postern by the abbey-wall : 
 
 I fear I am attended by some spies. — 
 
 Fear not : the forest is not three leagues off; 
 
 If we recover that, we are sure enough. — Ibid., v. I. 
 
 Therefore, I pray you, stand not to discourse. 
 
 But mount you presently . . . . 
 
 Despatch, sweet gentlemen, and follow me. — Ibid., v. 2. 
 
 So far, Short Time : now comes Long Time : — 
 
 To Milan let me hear from thee by letters, 
 
 Of thy success in love, and what news else 
 
 Betideth here in absence of thy friend ; 
 
 And I likewise will visit thee in mine^ — Ibid., i. i. 
 
 Nor need'st thou much importune me to that 
 
 Whereon this month I have been hammering. — Ibid., i. 3. 
 
 He writes 
 How happily he lives, how well belov'd, 
 And daily graced by the emperor ; 
 Wishing me with him, partner of his fortune. — Ibid., i. 3. 
 
 You were wont, when you laugh'd, to crow like a cock ; when you walk'd, to walk like 
 one of the lions ; when you fasted, it was presently after dinner ; when you look"d 
 sadly, it was for want of money : and now you are metamorphosed with a mistress. — 
 Ibid., ii. I. 
 
 She that you gaze on so, as she sits at supper ? — Ibid., ii. i. 
 
 For often have you writ to her ; and she, in modesty, 
 
 Or else for want of idle time, could not again reply. — Ibid., ii. i. 
 
THE SHAKESPEARE KEY. 
 
 Here is my hand for my true constancy ; 
 
 And when that hour o'erslips mc in the day 
 
 Wherein I sigh not, Julia, for thy sake, 
 
 The next ensuing hour some foul mischance 
 
 Torment me for my love's forgctfnlncss. — Two G. of V., ii. 2. 
 
 Ay, Proteus, but that life is altcr'd now : 
 
 I have done penance for contemning love ; 
 
 Whose high imperious thoughts have punish'd me 
 
 With bitter fasts, with penitential groans. 
 
 With nightly tears, and daily heart-sore sighs. — Ibid., ii. 4. 
 
 This love of theirs myself have often seen, 
 
 Haply, when they have judg'd me fast asleep ; 
 
 And oftctitimcs have purpos'd to forbid 
 
 Sir Valentine her company, and my court. — Ibid., iii. i. 
 
 I nightly lodge her in an upper tower. — Ibid., iii. 1. 
 
 Since his exile she hath despis'd me most. — Ibid., iii. 2. 
 
 Whence came you ? — 
 
 From Milan. — 
 
 Have you long sojourned there ? — 
 
 Some sixteen months. — Ibid., iv. i. 
 
 But, host, doth this Sir Proteus, that we talk on. 
 
 Often resort unto this gentlewoman ? — Ibid., iv. 2. 
 
 For / have heard him say, a thousand times. 
 
 His Julia gave it him at his departure. — Ibid., iv. 4. 
 
 To think upon her woes, I do protest, 
 
 That I have wept a hundred several times. — Ibid., iv. .\. 
 
 O thou, that dost inhabit in my breast, 
 
 Leave not the mansion so long tenantless, 
 
 Lest, growing ruinous, the building fall, 
 
 And leave no memory of what it was ! 
 
 Repair me with thy presence, Silvia ! — Ibid., v. 4. 
 
 In his play of " The Merry Wives of Windsor," the author had to 
 confine its time within the limits of natural and visible transaction 
 before the spectators' eyes, and yet to allow time for the various tricks 
 played oft" by the two merry dames upon their obese wooer : he has 
 accordinglv managed to imply current actual time together with several 
 days' time in his own ingenious method : — 
 
 Come, we have a hot venison pasty to dinner: come, gentlemen, I hope we shall 
 drink down all unkindness. — Merry W., i. i. 
 
 The dinner is on the table ; my father desires your worships' company. ... 7 zi'ill 
 not be absence at the grace. . . . The dinner attends you, sir. . . I may not go in 
 without your worship: they will not sit, till you come. ... I pray you, sir, walk in. 
 . . . Co/«i\ gentle Master Slender, come ; we stay fdr you. . . . Come, come. . . . Come 
 on, sir. — Ibid., i. 1. 
 
 I pray you. be gone. I will make an end of my dinner ; there 's pippins and cheese to 
 come. — ibid., i. 2. 
 
 I have writ me a letter to her; here another to Page's wife, who even now gave me 
 good eyes too. — Ibid., i. 3. 
 
 My humour shall not cool : I will incense Page to deal with poison. — Ibid., i. 3. 
 
 We'll have a posset for 't soon at night, in faith, at the latter end of a seacoal fire.— 
 Ibid., i. 4. 
 
 Well, I shall see her to-day. ... if thou see'st her before me, commend me. . . 
 Well, farewell ; / am in great haste now. — Ibid., i. 4. 
 
 Will you go. Mistress Page ? — Have with you. You '11 come to dinner, George ? — 
 Ibid., ii. I. 
 
DRAMATIC TIME. 
 
 Give your worship good-morrow. — Good-morrow, good wife. — Merry Iv ., n. 2. 
 Her husband will be absence from his house between ten and eleven.— Ten and 
 eleven ;— Ay, forsooth. . . . Ten and eleven. ... I will not fail titt.—Ibtd., u. 2. 
 He hath sent your worship a morning's draught of sack. — Ibid., ii. 2. 
 I shall be with her between ten and eleven. . . . Come you to m& at night ; you 
 shall know how I speed. — Ibid., ii. z. 
 
 Eleven o'clock the hour : I will prevent this, detect my wife, be revenged on Falstaff. 
 and laugh at Page. / will about it ; better three hours too soon, than a minute too 
 late. — Ibid., ii. 2. 
 
 Vat is dc clock. Jack?— Tii past the hour, sir, that Sir Hugh promised to come.— 
 Ibid., ii. 3- 
 
 The clock gives me my cue, and my assurance bids me search : there I shall find 
 Falstaff. — Ibid., iii. 2. 
 
 / have good cheer at home ; and I pray you all to go with me. — I must excuse myself 
 Master Ford.— And so must I, sir : we have appointed to dine with Mistress Anne. — 
 Ibid., iii. 2. 
 
 I beseech you, heartily, some of you go home with me to dinner : besides your cheer, 
 you shall have sport. — Ibid., iii. 2. 
 
 Well. I promised you a dinner ; come, come, walk in the Park ; I pray you, pardon 
 me. — Ibid., iii. 3. 
 
 I pra)' thee, once to-night give my sweet Nan this ring. — Ibid., iii. 4. 
 Her husband goes this morning a-birding : she desires you once more to come to 
 her between eight and nine. — Ibid., iii. 5. 
 
 BctTxieen nine and ten, sayest thou }^Eight and nine, sir. — Well, be gone : I will not 
 miss her. — Ibid., iii. 5. 
 
 Her husband is this morning gone a-birding : I have received from her another 
 embassy of meeting; Hwixt eight and nine is the hour. Master Brook. — 'Tis past eight 
 already, sir. — Is it? I will then address me to my appointment. Come to me at your 
 convenient leisure, and you shall know how I speed. — Ibid., iii. 5. 
 
 Is he at Master Ford's already, thinkest thou ? — Sure, lie is by this, or will be pre- 
 sently. . . . Mistress Ford desires you to come suddenly. — Ibid., iv. i. 
 Get you home, boy. Come, we stay too long, — Ibid., iv. i. 
 
 But are you sure of your husband now ? — He 's a-birding, sweet Sir John. — Ibid., iv. 2. 
 To-night at Heme's 03.]ii,just 'twixt tn-elve and one. 
 Must my sweet Nan present the fairy queen. — Ibid., iv. 6. 
 And here it rests — that you'll procure the vicar 
 To stay for me at church 'twixt twelve and one. — Ibid., iv. 6. 
 The matter will be known to-night, or never. Be you in the Park about midnight, 
 at Heme's oak, and you shall see wonders. — Ibid., v. i. 
 
 I am in haste ; go along with me : I '11 tell you all. Master Brook. . . . follow me : 
 I'll tell you strange things of this knave Ford; on whom to-night I will be revenged 
 . . . follow : strange things in hand, Master Brook: follow. — Ibid., v. 1. 
 
 Conic, come ; we 'U couch i' the Castle ditch, till we see the light of our fairies. . 
 It hath struck ten o'clock. — The night is dark. — Ibid., v. :i. 
 
 Where is Nan now, and her troop of fairies ? . . They are all couched in a pit 
 hard by Heme's oak, with obscured lights ; which, at the very instant of Falstaffs and 
 our meeting, they will at once display to the night. . . . The hour draws on : to the 
 oak, to the oak! — Ibid., v. 3. 
 
 T ri b, trib, {a.hies: come: . . . follow me into the pit ; . . . come, come ; trib, trib. — 
 Ibid., v. 4. 
 
 The Windsor bell hath struck twelve ; the minute draws on. — Ibid., v. 5. 
 Away ! disperse ! But till 'tis one o'clock. 
 Our dance of custom round about the oak 
 Of Heme the hunter, let us not forget. — Ibid., v. 5. 
 Yet be cheerful, knight: thou shalt eat a posset to-night at my house. — Ibid., v. 5. 
 
THE SHAKESPEARE KEY. 
 
 Good husband, let us every one go home. 
 And laugh this sport o'er by a country fire ; 
 Sir John and all. — 
 
 Let it be so. Sir John. 
 To Master Brook you yet shall hold your word ; 
 For he, to-night, shall lie with Mistress Ford. — Merry V/., v. 5. 
 
 Then, Long Time : — 
 
 Let 's be revenged on him : let 's appoint him a meeting ; give him a show of comfort 
 in his suit; and lead him on with a fine-baited delay, till he hath pawned his horses to 
 mine host of the Garter.— /Sid., ii. i. 
 
 I '11 give you a pottle of burnt sack to give me recourse to him, and tell him my 
 name is Brook ; only for a jest. — My hand, bully : thou shalt have egress and regress ; 
 said I well ? and thy name shall be Brook. — Ibid., ii. i. 
 
 She bade me tell your worship, that her husband is seldom from home ; but, she 
 hopes, there will come a time. — Ibid., ii. 2. 
 
 We have lingered about a match between Anne Page and my cousin Slender, and 
 this day we shall have our answer. — Ibid., iii. z. 
 
 Let him be sent for to-morrow, eight o'clock, to have amends. — Ibid., iii. 3. 
 I do invite you to-morrow morning to my house to breakfast: after, we '11 a-birdir.g 
 together. — Ibid., iii. 3. 
 
 I pray you now, remembrance to-morrow on the lousy knave, mine host. — Ibid., iii. 3. 
 You wrong me, sir, thus still to haunt my house : 
 I told you, sir, my daughter is dispos'd of. — Ibid., iii. 4. 
 / was at her house the hour she appointed me. — And sped you, sir ? — Very ill- 
 favouredly. . . . they conveyed me into a buck-basket. — Ibid., iii. 5. 
 
 There was one conveyed out of my house yesterday in this basket. — Ibid., iv. 2. 
 
 Let our wives 
 Yet once again, to make us public sport. 
 Appoint a meeting with this fat old fellow. 
 Where we may take him, and disgrace him for it. — 
 There is no better way than that they spoke of. — 
 
 How ? to send him word they '11 meet him in the Park at midnight ? — Ibid., iv. 4. 
 And ask him why, that hour of fairy revel. 
 In their so sacred paths he dares to tread 
 In shape profane. . . . and in that time 
 Shall Master Slender steal my Nan away. — Ibid., iv. 4. 
 Went you not to her yesterday, sir, as you told me you had appointed ? — I went 
 to her. Master Brook, like a poor old man : but I came from her, Master Brook, like 
 a poor old woman. — Ibid., v. i. 
 
 As Shakespeare had to denote in his grandly moral drama of 
 "Measure for Measure" speedy retribution for sin committed, 
 together with sufficient space for the supposed period of the duke's 
 absence, during which he may duly watch the conduct of Angelo in 
 the administration of justice, the Dramatic Time is managed with 
 peculiar skill in the introduction of coexistent accelerating touches, 
 and retarding touches. 
 
 First, for the accelerating touches : — 
 
 Claudio to prison ! 'tis not so. — 
 
 Nay, but I know 'tis so; I saw him arrested; saw him carried away; and, which is 
 more, within these three days his head is to be chopped off. — M.for A/., i. 1. 
 
 This may be : he promised to meet me two hours since, and he was ever precise in 
 promise-keeping — Ibid., i. 2. 
 
 Here comes Signior Claudio, led by the provost to prison. — Ibid., i. 2. 
 
DRAMATIC TIME. 113 
 
 The new deputy now for the duke, — , 
 
 Whether it be the fault and glimpse of newness, 
 
 Or whether that the body public be 
 
 A horse whereon the governor doth ride, 
 
 Who, newly in the seat, . . . but this new governor 
 
 Awakes me all the enrolled penalties. 
 
 . . . and, for a name. 
 Now puts the drowsy and neglected act 
 Freshly on me. — M.for M., i. 3. 
 Send after the duke, and appeal to him. — 
 I have done so, but he 's not to be found. — Ibid., i. 3. 
 This day my sister should the cloister enter. 
 And there receive her approbation: 
 Acquaint her with the danger of my state ; 
 Implore her, in my voice, that she make friends 
 To the strict deputy; bid herself assay him. — Ibid., i. 3. 
 I'll to her. . . . within two hours. — Ibid., i. 3. 
 
 He arrests him on it ; 
 ^nA follows close the rigour of the statute. 
 To make him an example. . . . Has censur'd him 
 Already ; and, as I hear, the provost hath 
 A warrant for his execution. — Ibid., i. 5. 
 
 Go to Lord Angelo, 
 And let him learn to know, when maidens sue. 
 Men give like gods. . . . But speedily. — Ibid., i. 5. 
 Sir, he must die. 
 . . . See that Claudio 
 Be executed by nine to-morrow morning. 
 Bring him his confessor, let him be prepar'd ; 
 For that's the utmost of his pilgrimage. — Ibid., ii. i. 
 What 's o'clock, think you ? — Eleven, sir. — I pray you home to dinner with me. — 
 Ibid., ii. I. 
 
 Is it your will Claudio shall die to-morrow ? — 
 
 Did I not tell thee, yea ? hadst thou not order ? — Ibid., ii. 2. 
 
 Here is the sister of the man condemn'd 
 
 Desires access to you. — Ibid., ii. z. 
 
 He's sentenc'd ; 'tis too late. — Ibid., ii. i:. 
 
 He must die to-morrow. — 
 To-morrow? O, that's sudden! Spare him, spare him ! 
 He 's not prepar'd for death. — Ibid., ii. 2. 
 When must he die ? — 
 
 As I do think, to-morrow. — Ibid., ii. 3. 
 Your partner, as I hear, must die to-morrow. 
 And I am going with instruction to him. — . . . 
 Must die to-morrow. — Ibid., ii. 3. 
 To sue to live, I find I seek to die ; 
 
 And, seeking death, find life: let it come on. — Ibid., iii. i. 
 Lord Angelo, having affairs to heaven. 
 Intends you for his swift embassador. 
 Where you shall be an everlasting leiger : 
 Therefore, your best appointment make with speed : 
 To-morrow you set on. — Ibid., iii. i. 
 
 This night 's the time 
 That I should do what I abhor to name. 
 Or else thou diest to-morrow. — Ibid., iii. i. 
 Be ready, Claudio, for your death to-morrow. — Ibid., iii. 1. 
 Therefore prepare yourself to death. Do not satisfy your resolution with hopes that 
 are fallible: to-morrow you must die ; go to your knees, and make ready. — Ibid., iii. i. 
 
 I 
 
114 THE SHAKESPEARE KEY. 
 
 How will you do to content this substitute, and to save your brother ? — I am now 
 going to resolve him. — M.for M., iii. i. 
 
 Haste you speedily to Angelo: \i for this night he entreat you to his bed, give him 
 promise of satisfaction. I will presently to St. Luke's : there, at the moated grange, 
 resides this dejected Mariana. At that place call upon me ; and despatch with Angelo, 
 that it may be quickly. — Ibid., iii. i. 
 
 Provost, my brother Angelo will not be altered; Claudio must die to-morrow : let 
 him be furnished with divines, and have all charitable preparation. . . . — This friar 
 hath been with him, and advised him for the entertainment of death. — Good even, good 
 father. — Ibid., iii. 2. 
 
 And now is he resolved to die. — Ibid., iii. 2, 
 With Angelo to-night shall lie 
 His old betrothed, but despis'd. — Ibid., iii. 2. 
 Hath anybody inquired for me here to-day ? Much upon this time have I promised 
 here to meet. — You have not been inquired after : I have sat here all day. — Ibid., iv. i. 
 There have I made my promise on the heavy 
 Middle of the night to. call upon him. — Ibid., iv. i. 
 I shall attend your leisure : but make haste ; 
 The vaporous night approaches. — Ibid., iv. i. 
 To-morrow morning are to die Claudio and Barnardine. — Ibid., iv. 2. 
 Sirrah, here's a fellow will help you to-morrow, in your execution. — Ibid., iv. -.;. 
 You. sirrah, provide your block and your axe to-morrow four o'clock. — Ibid., iv. 2. 
 Look, here 's the warrant, Claudio, for thy death : 
 'Tis now dead midnight, and by eight to-morrow 
 Thou must be made immortal. — Ibid., iv. 2. 
 
 Who call'd here of late ? — 
 None, since the curfew rung. — 
 
 Not Isabel ? — 
 No.— 
 
 They will, then, ere H be long. — Ibid., iv. 2. 
 
 There he must stay until the officer 
 
 Arise to let him in : he is call'd up. — 
 
 Have you no countermand for Claudio yet. 
 
 But he must die to-morrow ? — 
 
 None, sir, none. — 
 
 As near the dawning, provost, as it is. 
 
 You shall hear more ere morning. — Ibid., iv. 2. 
 
 This is his lordship's man.^ 
 
 And here comes Claudio's pardon. — 
 My lord hath sent you this note; . . . Good morrow ; for, as I take it, it is almost 
 day. — Ibid., iv. 2. 
 
 Whatsoever you may hear to the contrary, let Claudio be executed by four of the 
 clock : and, in the afternoon, Barnardine. For my better satisfaction, let me have 
 Claudio's head sent nie by five. — Ibid., iv. 2. 
 
 What is that Barnardine, who is to be executed in the afternoon ? — Ibid., iv. 2. 
 
 Let this Barnardine be this morning executed, and his head borne to Angelo. — 
 Ibid., iv. 2. 
 
 The contents of this is the return of the duke : you shall anon over-read it at your 
 pleasure ; where you shall find, within these two days he will be here. This is a thin^ 
 that Angelo knows not ; for he iAz's iicri' rfnv receives letters of strange tenor ; . . . Look, 
 the unfolding star calls up the shepherd. . . . Call your executioner, and off with Bar- 
 nardine's head : I will give him present shrift, and advise him for a better place. . . 
 Come away ; it is almost clear dawn. — Ibid., iv. 2. 
 
 Master Barnardine ! You must rise and be hanged, . . . You must be so good, sir, to 
 rise and be put to death. — Ibid., iv. 3, 
 
 Away ! I am sleepy. — Tell him he must awake, and that quickly too. — Ibid., iv. 3. 
 
DRAMATIC TIME. 115 
 
 Is the axe upon the block, sirrah ? — Very ready, sir. — M.for M., iv. 3. 
 I would desire you to clap into your prayers ; for, look you, the warrant 's come. . . . 
 Here comes your ghostly father : do we jest now, tiiink you ? — ... I will not consent 
 to die this day, that 's certain. ... I will not die to-day for any man's persuasion. . . . 
 After him, fellows ; bring him to the block. — Ibid., iv. 3. 
 Here in the prison, father, 
 
 There died this morning of a cruel fever 
 
 One Ragozine. — Ibid., iv. 3. 
 
 0, 'tis an accident that heaven provides ! 
 
 Despatch it presently : the hour draws on 
 
 Prefix'd by Angelo. See this be done, 
 
 And sent according to command ; . . . 
 
 This shall be done, good father, presently. 
 
 But Barnardine must die this afternoon. — Ibid., iv. 3. 
 
 Ere twice the sun hath made his journal greeting 
 
 To th' under generation, you shall find 
 
 Your safety manifested. — 
 
 I am your free dependant. — 
 
 Quick, despatch, and send the head to Angelo. 
 
 Now will I write letters to Angelo — 
 
 The provost, he shall bear them — whose contents 
 
 Shall witness to him / am near at home. — Ibid., iv. 3. 
 
 Here is the head ; I '11 carry it myself. — 
 
 Convenient is it. Make a swift return ; 
 
 . . . I'll make all speed. — Ibid., iv. 3. 
 
 Good morning to you, fair and gracious daughter. — 
 
 The better, given me by so holy a man. 
 
 Hath yet the deputy sent my brother's pardon ? — 
 
 He hath releas'd him, Isabel, from the world : 
 
 His head is off, and sent to Angelo. — Ibid., iv. 3. 
 
 The duke comes home to-morrow ; nay, dry your eyes : 
 
 One of our convent, and his confessor. 
 
 Gives me this instance : already he hath carried 
 
 Notice to Escalus and Angelo ; 
 
 Who do prepare to meet him at the gates. 
 
 There to give up their power. — Ibid., iv. 3. 
 
 This letter then to Friar Peter give ; 
 
 'Tis that he sent me of the duke's return : 
 
 Say, by this token, I desire his company 
 
 At Mariana's house to-night. — Ibid., iv. 3. 
 
 And why should we 
 
 Proclaim it in an hour before his entering. 
 
 That if any crave redress. . . . Let it be proclaim'd : 
 
 Betimes i' the morn I '11 call you at your house. . . . 
 
 Good night. — Ibid., iv. 4. 
 
 Go, call at Flavius' house. 
 
 And tell him where I stay : give the like notice 
 
 To Valentinus, Rowland, and to Crassus, 
 
 And bid them bring the trumpets to the gate ; 
 
 But send me Flavius first. — 
 
 It shall be speeded well. — 
 
 I thank thee, Varrius ; thou hast made good haste : 
 
 Come, we will walk. There 's other of our friends 
 
 Will greet us here anon. — Ibid., iv. 5. 
 
 Come, I have found you out a stand most fit. 
 
 Where you may have such vantage on the duke, 
 
 He shall not pass you. Twice have the trutnpets sounded ; 
 
 The generous and gravest citizens 
 
 Have bent the gates, and very near upon 
 
 The duke is entering : therefore hence, away. — Ibid., iv. 6. 
 
 I 2 
 
ii6 THE SHAKESPEARE KEY. 
 
 And I did yield to him : but the next morn betimes. 
 
 His purpose surfeiting, he sends a warrant 
 
 For my poor brother's head. — M.for M., v. I. 
 
 But yesternight, my lord, she and that friar, 
 
 I saw them at the prison. — Ibid., v. i. 
 
 But Tuesday night last gone, in 's garden house, 
 
 He knew me as a wife. — Ibid., v. i. 
 
 Let my trial be mine own confession : 
 
 Immediate sentence then, and sequent death. 
 
 Is all the grace I beg. — 
 
 Come hither, Mariana. 
 Say, wast thou e'er contracted to this woman ; — 
 I was my lord. — 
 
 Go take her hence, and marry her instantly. 
 Do you the office, friar ; which consummate, 
 Return him here again. — Ibid., v. i. 
 It was the swift celerity of his death. 
 Which I did think with slower foot came on. 
 That brain'd my purpose. — Ibid., v. i. 
 We do condemn thee to the very block 
 Where Claudio stoop'd to death, and with like haste. 
 Away with him! — Ibid., v. i. 
 
 Secondly, for the retarding touches : — 
 
 We shall write to you. 
 As time and our concernings shall importune. 
 How it goes with us ; and do look to know 
 What doth befall you here. — Ibid., i. i. 
 I have deliver'd to Lord Angelo 
 (A man of stricture and firm abstinence) 
 My absolute power and place here in Vienna, 
 And he supposes me travell'd to Poland. — Ibid., i. 4. 
 I will bethink me ; come again to-morrow.* 
 . . . Well ; come to me to-morrow. — 
 
 At what hour to-morrow 
 Shall I attend your lordship ? — 
 
 At any time 'fore noon. — Ibid., ii. 2. 
 What ! do I love her. 
 That I desire to hear her speak again. 
 And feast upon her eyes ? — Ibid., ii. 2. 
 
 Answer me to-morrow, 
 Or, by the affection that now guides me most, 
 I 'U prove a tyrant to him. — Ibid., ii. 4. 
 How much is the good duke deceived in Angelo! If ever he return, and I can speak 
 to him, I will open. — Ibid., iii. i. 
 
 Much please the absent duke, if peradventure he shall ever return to have hearing of 
 this business. — Ibid., iii. i. 
 
 What news, friar, of the duke ? — 
 I know none. Can you tell me of any ? — 
 Some say, he is with the Emperor of Russia ; other some, he is in Rome. . . . Lord 
 Angelo dukes it well in his absence. — Ibid., iii. 2. 
 
 * It is noticeable with what art-skill Shakespeare uses even the same word with 
 accelerating or retarding force of effect, according to his purpose. In this play he uses 
 the word " to-morrow " in certain passages to hasten on the action and time ; whereas 
 in- the present passage he employs the word " to-morrow " as a means of putting off to 
 another day the answer which Angelo is to give Isabella in her suit for her brother, and 
 thereby deferring Claudio's execution long beyond the period iirst appointed for its 
 taking place. 
 
DRAMATIC TIME. 117 
 
 Here comes a man of comfort, whose advice 
 
 Hath often still'd my brawling discontent. — M./or M., iv. i. 
 
 Yet, I believe, there comes 
 No countermand ; no such example have we. — Ibid., iv. 2. 
 
 Lord Angelo, belike thinking me remiss in mine office, awakens me with this 
 unwonted putting on ; methinks strangely, for he hath not used it before. — Ibid,, iv. 2. 
 
 His friends still wrought reprieves for him : and, indeed, his fact, till now in the govern- 
 ment of Lord Angelo, came not to an undoubtful proof. — Ibid., iv. 2. 
 
 To make you understand this in a manifested effect, I crave but four days' respite ; 
 for the which you are to do me both a present and a dangerous courtesy. — Pray, sir, in 
 what ? — In the delaying death. — Ibid., iv. 2. 
 
 Every letter he hath writ hath 4isvouched other. — Ibid., iv. 4. 
 
 My business in this state 
 Made me a looker-on here in Vienna, 
 Where / have seen corruption boil and bubble, 
 Till it overrun the stew : laws for all faults, 
 But faults so countenanced, that the strong statutes 
 Stand like the forfeits in a barber's shop. 
 As much in mock as mark. — Ibid., v. i. 
 
 In his charming comedy of " Much Ado about Nothing " the 
 dramatist — having to convey the effect of a passing occurrence in the 
 Hfe of a young count eager for the arrival of his wedding-day, together 
 with the machinations of an evil-doer to prevent the marriage from 
 taking place, and the plottings of friends to bring about a union 
 between a lady and gentleman who have a liking for each other 
 nothwithstanding their habitual wit-combats — has contrived to give 
 blended brief and protracted time throughout its sceries. The indi- 
 cations of brief time are : — 
 
 I learn in this letter, that Don Pedro of Arragon comes this night to Messina. — He 
 is very near by this : he was not three leagues 0^ when I left him. — M. Ado, i. j.. 
 
 Don Pedro is approached. — Ibid., i. i. 
 
 Tell him / vsill not fail him at supper ; for indeed he hath made great preparation. — 
 Ibid., i. I. 
 
 I know we shall have revelling to-night : 
 I will assume thy part in some disguise. . , . 
 In practice let us put it presently, — Ibid., i. i. 
 
 How now, brother ! where is my cousin, your son ? 'Hath he provided this music ? 
 — He is very busy about it. — Ibid., i. 2. 
 
 That he loved my niece your daughter, and meant to acknowledge it this night in a 
 dance ; and, if he found her accordant, he meant to take the present time by the top, and 
 instantly break with you of it. — Ibid., i. 2. 
 
 Go you with me, and I will use your skill. Good cousin, have a care this busy time. — 
 Ibid., i. 2. 
 
 / came yonder from a great supper : . . . Let us to the great supper. — Ibid., i. 3. 
 
 Was not Count John here at supper ?^Ibid., ii. i. 
 
 The revellers are entering, brother. — Ibid., ii. i. 
 
 And he swore he would marry her to-night. — Ibid., ii. i. 
 
 Go, then ; find me a meet hour to draw Don Pedro and the Count Claudio alone. — 
 Ibid., ii. 2. 
 
 I will presently go learn their day of marriage. — Ibid., ii. 2. 
 
 How still the evening is. 
 As hush'd on purpose to grace harmony ! — Ibid., ii. 3. 
 
ii8 THE SHAKESPEARE KEY. 
 
 My lord, will you walk? dinner' is ready. — M. Ado, ii. 3. 
 
 Let us send her to call him in to dinner. — Ibid., ii. 3. 
 
 Against my will, I am sent to bid you come in to dinner. — Ibid., ii. 3. 
 When are you married, madam ? — 
 Why, every day to-morrow. Come, go in : 
 I '11 show thee some attires ; and have thy counsel. 
 Which is the best to furnish me to-morrow. — Ibid., iii. 1. 
 
 / do hit stay till your marriage be consummate, and then go I toward Arragon. — 
 Ibid., iii. z. 
 
 Hero and Margaret have by this played their parts with Beatrice. — Ibid., iii. 2. 
 
 Means your lordship to be married to-morrow ? — You know he io&s.^Ibid., iii. 2. 
 
 Go but with me to-night, you shall see her chamber- window entered, even the night 
 before her wedding-day : if you love her then, to-morrow wed her. — Ibid., iii. ^. 
 
 If I see anything to-night why I should not marry her to-morrow, in the congregation, 
 where I should wed, there will I shame her. — Ibid., iii. 2. 
 
 Bear it coldly but till midnight, and let the issue show itself. — Ibid., iii. 2. 
 
 Let us sit here upon the church-bench till two, and then all to bed. One word more, 
 honest neighbours. I pray you, watch about Signior Leonato's door ; for the wedding 
 being to-morrow, there is a great coil to-night. — Ibid., iii. 3. 
 
 I have to-night wooed Margaret, the lady Hero's gentlewoman, by the name of Hero. 
 — Ibid., iii. 3. 
 
 Good Ursula, wake my cousin Beatrice, and desire her to rise. — Ibid., iii. 4. 
 
 Good morrow, coz. — Good morrow, sweet Hero. — Ibid., iii. 4. 
 
 Tii almost jive o'clock, cousin ; His time you were ready. — Ibid., iii. 4. 
 
 Madam, withdraw: the prince, the count, Signior Benedick, Don John, and all the 
 gallants of the town, are come to fetch you to church. — Help to dress me, good coz, good 
 ^^g, good Ursula. — Ibid., iii. 4. 
 
 Brief, I pray you ; for you see ii is a busy time with me. — Ibid., iii. 5. 
 
 Take their examination yourself, and bring it me : / am now in great haste, as may 
 appear unto you. — Ibid., iii. 5. 
 
 My lord, they stay for you to give your daughter to her husband. — I'll wait upon 
 them: I am ready. — Ibid., iii. 5. 
 
 Come, Friar Francis, be brief ; only to the plain form of marriage, and you shall 
 recount their particular duties afterwards. — Ibid., iv. 1. 
 
 What man was he talk'd with you yesternight 
 
 Out at your window, betwixt twelve and one ? — Ibid., iv. i. 
 
 Myself, my brother, and this grieved count. 
 
 Did see her, hear her, at that hour last night. 
 
 Talk with a ruffian at her chamber-window. — Ibid., iv. i. 
 
 Lady, were you her bedfellow last night ? — 
 
 No, truly not; although, until last night, 
 
 I have this twelvemonth been her bedfellow. — Ibid., iv. i. 
 
 O, my father ! 
 Prove you that any man with me convers'd 
 At hours unmeet, or that I yesternight 
 Maintain'd the change of words with any creature, 
 Refuse me, hate me, torture me to death. — Ibid., iv. i. 
 
 * Although the word " dinner " is here used, it seems more probable that " supper " 
 was meant; because at the commencement of the scene " evening" is mentioned, and 
 in Shakespeare's time the usual hour for dinner was about mid-day, while supper was 
 the evening meal. Nevertheless, it is true that "evening" was the term formerly 
 used to express any time after twelve o'clock in the day ; and therefore it is possible 
 that the period of the present scene is intended to be somewhere after noon, in which 
 case the word " dinner" is correct. 
 
DRAMATIC TIME. 119 
 
 Prince. John is this morning secretly stolen away: Hero was in this manner accused ; 
 in this very manner refused; and, upon the grief of this, suddenly died. — M. Ado. iv. 2. 
 
 Here come the prince and Claudio hastily. — 
 Good den, good den. — 
 
 Good day to both of you. — 
 Hear you, my lords, — 
 
 We have some haste^ Leonato. — 
 Some haste, my lord ! Well, fare you well, my lord ; 
 Are you so hasty now ? Well, all is one. — Ibid., v. i. 
 
 Come, bring away the plaintiffs : by this time our sexton hath reformed Signior 
 Leonato of the matter. . . . Here comes master Signior Leonato. and the sexton too. 
 —Ibid., V. i. 
 
 Hang her an epitaph upon her tomb, 
 And sing it to her bones — sing it to-night : 
 To-morrow morning come you to my house ; 
 And since you could not be my son-in-law, 
 Be yet my nephew. — Ibid., v. i. 
 
 To-morrow, then, I will expect yoiir coming ; 
 To-night I take my leave,— /6»5., v. j.. 
 
 Until to-morrow morning, lords, farewell. — 
 Farewell, my lords: we look for you to-morrow. 
 We will not fail, — 
 
 To-night Vll mourn with Hero. — Ibid., v. 1. 
 
 Claudio undergoes my challenge ; and either I must shortly hear from him, or I «ill 
 subscribe him a coward. — Ibid., v. 2. 
 
 Madam, you must come to your uncle. Yonder 's old coil at home : it is proved, my 
 lady Hero hath been falsely accused, the prince and Claudio mightily abused : and 
 Don John is the author of all, who is fled and gone. Will you come presently ? — 
 Ibid., V. 2. 
 
 Now, unto thy bones good night ! 
 Yearly will I do this rite. — - 
 
 Good morrow, masters ; pjit your torches out : 
 
 The wolves have prey'd ; and look, the gentle day. 
 
 Before the wheels of Phoebus, round about 
 
 Dapples the drowsy east with spots of grey. 
 
 Thanks to you all, and leave us : fare you well. — 
 
 Good morrow, masters : each his several way. — 
 
 Come, let us hence, and put on other weeds ; 
 
 And then to Leonato's we will go. — 
 
 And Hymen now with luckier issue speeds. 
 
 Than this, for whom we rendered up this woe. — Ibid.. \ . 3. 
 
 The prince and Claudio promis'd by this hour 
 To visit me. — Ibid., v. 4. 
 
 But, for my will, my will is, your good will 
 May stand with ours, this day to be conjoi7t'd 
 In the -state of honourable marriage. — Ibid., v. 4. 
 
 Good-morrow to this fair assembly. — 
 Good-morrow, prince ; good-morrow, Claudio : 
 We here attend you. Are you yet determin'd 
 To-day to marry with my brother^s daitghter ? — 
 I '11 hold my mind, were she an Ethiop. — 
 Call her forth, brother : here 's the friar ready. 
 Let 's have a dance ere we are married. . . . We '11 have dancing afterwards. — First, 
 of my word ; therefore, play, music 1 — Ibid., v. 4. 
 
 My lord, your brother John is ta'en inflight. 
 And brought with armed men back to Messina. — 
 Think not on him till to-morrow. . . . Strike up, pipers !--Ibid., v. 4. 
 
THE SHAKESPEARE KEY. 
 
 The indications of protracted time are : — 
 
 My dear friend Leonato hath invited you all. I tell him ivc shall stay here at least 
 a month ; and he heartily prays some occasion may detain us longer. — M. Ado, i. i. 
 
 Here, Claudio, I have wooed in thy name, and fair Hero is won : I have broke with 
 her father, and, his good will obtained, name the day of marriage, and God give thee 
 joy ! — Ibid., ii. i. 
 
 Count Claudio, when mean you to go to church ? — To-morrow, my lord : Time 
 goes on crutches till love have all his rites. — Not till Monday, my dear son, which is 
 hence a just seven-night ; and a time too brief, too, to have all things answer my mind. 
 — Come, you shake the head at so long a breathing : but, I warrant thee, Claudio the 
 time shall not go dully by us. I will, in the interim, undertake one of Hercules' 
 labours ; which is, to bring Signior Benedick and the lady Beatrice into a mountain 
 of affection, the one with the other. I would fain have it a match ; and I doubt not 
 but to fashion it, if you three will but minister such assistance as I shall give you 
 direction. — My lord, I am for you, though it cost me ten nights' watchings. — Ibid., ii. i. 
 
 They will scarcely believe this without trial : offer them instances ; which shall bear 
 no less likelihood than to see me at her chamber- window ; hear me call Margaret, 
 Hero ; hear Margaret term me Claudio ; and bring them to see this the very night 
 before the intended wedding ; for in the meantime I will so fashion the matter that 
 Hero shall be absent. — Ibid., ii. 2. 
 
 I have known, when there was no music with him but the drum and the fife ; and 
 now had he rather hear the tabor and the pipe : / have known, when he would have 
 walked ten mile afoot to see a good armour ; and now will he lie ten nights awake, 
 carving the fashion of a new doublet. — Ibid., ii. 3. 
 
 Get us some excellent music ; for to-morrow night we would have it at the lady 
 Hero's chamber-window. — Ibid., ii. 3. 
 
 Come hither, Leonato : what was it you told me of to-day, that your niece Beatrice 
 was in love with Signior Benedick ? — Ibid., ii. 3. 
 
 Why, what effects of passion shows she ? — . . . What effects, my lord ? She will 
 sit you — you heard my daughter tell you how. — Ibid., ii. 3. 
 
 " Shall I," says she, " that have so oft encountered him with scorn, write to him 
 that I love him ? " — This says she now when she is beginning to write to him ; for 
 she '11 be up twenty times a. night and there will she sit till she have writ a sheet of 
 paper: my daughter tells us all. — Ibid., ii. 3. 
 
 The ecstasy hath so much overborne her, that my daughter is sometime afeard she 
 will do a desperate outrage to herself. — Ibid., ii. 3. 
 
 Hero thinks surely she will die ; for she says she will die if he love her not ; and she 
 will die, ere she make her love known ; and she will die if he woo her, rather than she 
 will bate one breath of her accustomed crossness. — Ibid., ii. 3. 
 
 Well, I am sorry for your niece. Shall we go seek Benedick, and tell him of her 
 love ? — Never tell him, my lord : let her wear it out with good counsel. — Ibid., ii. 3. 
 
 Who hath, indeed, most like a liberal villain, 
 Confess'd the vile encounters they have had 
 A thousand times in secret. — Ibid., iv. i. 
 
 I '11 tell thee how Beatrice praised thy wit the other day. ... he swore a thing to me 
 on Monday night, which he forswore on Tuesday morning. . . . Thus did she, an hour 
 together, trans-shape thy particular virtues : yet at last she concluded with a sigh, thou 
 wast the properest man in Italy. — Ibid., v. i. 
 
 I pray thee now, tell me, for which of my bad parts didst thou frst fall in love with 
 me? — For them all together: . . . But for which of my good parts did you frst suffer 
 love for me ? — Ibid., v. 2. 
 
 The author of " Love's Labour's Lost " had to indicate the visit of a 
 French princess and her train at the court of Navarre, together with 
 a sojourn of sufficient length to admit of the king and his lords falling 
 in love with her and her ladies, courting them by divers interviews 
 
DRAMATIC TIME. 
 
 and entertainments. The effects of quickly passing time are thus 
 thrown in : — 
 
 When, spite of cormorant devouring Time, 
 
 Th' ende'avour of this present breath may buy 
 
 That honour which shall bate his scythe's keen edge. 
 
 And make us heirs of all eternity. — Love's L. L., i. i. 
 
 Our late edict shall strongly stand in force. — Ibid., i. i. 
 
 Your oaths are past; and now subscribe your names. — Ibid., i. i. 
 Here comes in embassy 
 
 The French king's daughter with yourself to speak.— /i/rf., i. i. 
 Betook myself to walk. The time when ? About the sixth hour ; when beasts most 
 graze, birds best peck, and men sit down to that nourishment which is called supper : 
 so much for the time when. — Ibid., i. i (Letter). 
 
 Did you hear the proclamation [that which has been before mentioned as " our late 
 edict. ''J ? — Ibid., i. i. 
 
 Xow, madam, summon up your dearest spirits : 
 
 Consider whom the king your father sends ; 
 
 To whom he sends; and what's his embassy. — Ibid., ii. i. 
 
 Tell him, the daughter of the king of France, 
 
 On serious business, craving quick despatch. 
 
 Importunes personal conference with his grace : 
 
 Haste, signify so much. — Ibid., ii. i. 
 
 Here comes Boyet, — 
 
 Now, what admittance, lord ? — 
 Navarre had notice of your fair approach ; 
 And he and his competitors in oath 
 Were all address'd to meet you, gentle lady, 
 Before I came. . . . 
 Here comes Navarre. — Ibid., ii. i. 
 Vouchsafe to read the purpose of my coming, 
 And suddenly resolve me in my suit. — Ibid., ii. i. 
 If my observation, which very seldom lies. 
 By the heart's still rhetoric disclos'd with eyes. 
 Deceive me not now, Navarre is infected. — 
 With what ? — 
 
 With that which we lovers entitle, affected. — 
 Your reason ? — 
 
 Why, all his behaviours did make their retire 
 To the court of his eye, peeping thorough desire : 
 His heart, like an agate, with your print impress'd. 
 Proud with his form, in his eye pride express'd : 
 His tongue, all impatient to speak, not to see. 
 Did stumble in haste in his eyesight to be ; 
 All senses to that sense did make their repair, 
 To feel only looking on fairest of fair. — Ibid., ii. i. 
 
 Take this key, give enlargement to the swain, bring him festinately* hither.— Ibid.. 
 iii. I. 
 
 O, stay, slave ; I must employ thee : 
 
 As thou wilt win my favour, good my knave. 
 
 Do one thing for me that I shall entreat.— 
 
 When would you have it done, sir ? — 
 
 0, this afternoon. — . . . 
 
 I will come to your worship to-morrow morning.- — 
 
 It must be done this afternoon. Hark, slave. 
 
 It is but this, — • 
 
 The princess comes to hunt here in the park. 
 
 " " Festinately " ; that is, speedily. 
 
THE SHAKESPEARE KEY. 
 
 And in her train there is a gentle lady ; 
 When tongues speak sweetly, then they name her name, 
 And Rosaline they call her : ask for her ; 
 And to her white hand see thou do commend 
 
 This seal'd-up counsel. There's thy guerdon ; go.— Love's L. L.. iii. i. 
 Well, lords, to-day we shall have our despatch : . . . 
 Then, forester, my friend, where is the bush 
 That we must stand and play the murderer in ? — 
 Hereby, upon the edge of yonder coppice ; 
 A stand where you may make the fairest shoot. — . . . 
 But, come, the bow : nom mercy goes to kill, 
 And shooting well is then accounted ill. — Ibid., iv. i. 
 God give you good-morrow, master person. — Ibid., iv. 2. 
 / do dine to-day at the father's of a certain pupil of mine. — Ibid., iv. 2. 
 Away ! the gentles are at their game, and we will to our recreation. — Ibid., iv. 2. 
 Shall we resolve to woo these girls of France ? — 
 And win them too : therefore let us devise 
 Some entertainment for them in their tents. — 
 First, from the park let us conduct them thither ; 
 Then, homeward, every man attach the hand 
 Of his fair mistress. In the afternoon 
 We will with some strange pastime solace them, 
 
 Such as the shortness of the time can shape ; 
 
 For revels, dances, masks, and merry hours, 
 
 Forerun fair Love, strewing her way with flowers. — 
 
 Away, away ! no time shall be omitted. 
 
 That will be time, and may by us be fitted. — Ibid., iv. 3. 
 Your reasons at dinner have been sharp and sententious. ... I did converse this 
 quondam day with a companion of the king's. — Ibid., v. i. 
 
 It is the king's most sweet pleasure and affection, to congratulate the princess at her 
 pavilion in the posteriors of this day, which the rude multitude call the afternoon. 
 
 Ibid., V. 1. 
 
 Madam, and pretty mistresses, give ear : 
 
 Immediately they will again be here 
 
 In their own shapes. — . . . 
 
 Will they return ? — 
 
 They will, they will. . . . 
 
 Therefore change favours ; and, when they repair, 
 
 Blow like sweet roses in the summer air. . . . 
 
 Ladies, withdraw : the gallants are at hand. — 
 
 Whip to our tents, as roes run over land. — Ibid., v. 2. 
 
 We have had pastimes here, and pleasant game : 
 
 A mess of Russians left us but of late. — Ibid., v. 2. 
 
 We four, indeed, confronted were with four 
 
 In Russian habit : here they stay'd an hour. 
 
 And talk'd apace ; and in that hour, my lord. 
 
 They did not bless us with one happy word. — Ibid., v. 2. 
 
 Boyet, prepare ; I will away to-night. — 
 
 Madam, not so ; I do beseech you, stay. — 
 
 Prepare, I say. — Ibid., v. 2. 
 The effects of more slowly passing time are thus introduced : — 
 
 You three, Biron, Dumain, and Longaville, 
 
 Have sworn for three years' term to live with me, 
 
 My fellow-scholars, and to keep those statutes 
 
 That are recorded in this schedule here. — . 
 
 I am resolved: 'tis but a three years' fast : 
 
 The mind shall banquet though the body pine. — . . . 
 
 So much, dear liege, I have already sworn. 
 
 That is, to live and study here three years. — Ibid., i. i. 
 
DRAMATIC TIME. 123 
 
 I only swore to study with your grace, 
 
 And stay here in your court for three years' space. — Love's L. L., i. i. , 
 
 Yet confident I '11 keep to what I swore, 
 
 And bide the-penance of each three years' day. — Ibid., i. i. 
 
 "Item, if any man be seen to talk with a woman within the term of three years, 
 he shall endure such public shame as the rest of the court can possibly devise." — 
 Ibid., i. 1. 
 
 Necessity will make us all forsworn. 
 
 Three thousand times within this three years' space. — Ibid., i. i. 
 
 I will pronounce your sentence : you shall fast a week with bran and water. — I had 
 rather pray a month with mutton and porridge. — Ibid., i. i. 
 
 The duke's pleasure is, that you keep Costard safe:' and you must let him take no 
 delight, nor no penance ; but a' must fast three days a week. — Ibid., i. ^. 
 
 Navarre hath made a vow. 
 Till painful study shall out-wear three years. 
 No woman may approach his silent court : 
 Therefore to us seem'th it a needful course. 
 Before we enter his forbidden gates. 
 To know his pleasure. — Ibid., ii. i. 
 Boyet, you can produce acquittances 
 For such a sum, from special officers 
 Of Charles his father. — 
 
 Satisfy me so. — 
 So please your grace the packet is not come-. 
 Where that and other specialties are bound: 
 To-morrow you shall liave a sight of them. — 
 It shall suffice me : at which interview. 
 All liberal reason I will yield unto. 
 Meantime, receive such welcome at my hand 
 As honour, without breach of honour, may 
 Make tender of to thy true worthiness : 
 You may not come, fair princess, in my gates ; 
 But here without, you shall be so receiv'd 
 As you shall deem yourself lodg'd in my heart. 
 Though so denied fair harbour in my house. 
 Your own good thoughts excuse me, and farewell; 
 To-morrow shall we visit you again. — Ibid., ii. 1. 
 On Saturday we will return to France. — Ibid., iv. i. 
 Thou hast mistaken his letter. . . . Here, sweet, put up this : 'twill Ije thine another 
 day. — Ibid., iv. i. 
 
 That same Biron /'// torture ere I go. — Ibid,, v. 2. 
 
 We came to visit you ; atid piwpose now 
 
 To lead you to our court. — Ibid., v. 2. 
 
 0, you have liv'd in desolation here. 
 
 Unseen, unvisited, much to our shame. — 
 
 Not so, my lord ; it is not so, I swear ; 
 
 We have had pastimes here and pleasant game. — Ibid., v. ^. 
 
 For your sakes have we neglected time. 
 
 Flay' d foul play v:ith our oaths : your beauty, ladies, 
 
 Hath much deform'd us, fashioning our humours 
 
 Even to the opposed end of our intents. — Ibid., v. i. 
 
 The " Midsummer Night's Dream " affords a curious instance of the 
 ingenuity with which its author contrives to give two distinct sets of 
 Dramatic Time in the same play. Its title, and the chief impression 
 it produces, allows a single night of summer fanciful incident to be 
 supposed as the period which this lovely drama depicts ; whereas it 
 
124 THE SHAKESPEARE KEY. 
 
 also embraces the interval that elapses between the opening speech of 
 Theseus and the concluding benediction on his nuptials, an interval of 
 four days. This interval is expressly stated in the outset of the play. 
 There is mention of the appointed meeting in the wood being fixed to 
 take place on the night of the day following that when the play begins ; 
 the various adventures in the wood succeed each other : and yet, so 
 artistically is the corresponding hastening process simultaneously 
 maintained, that no violence is done to our sense of veritableness 
 when in the course of the first scene of the fourth act we find that the 
 morning of the nuptials has arrived, and in the next scene learn that 
 the ceremony has actually been performed. The four days seem 
 naturally to have passed, even while we seem to have beheld but a 
 sole night of midsummer dreamy doings in fairy-land. The poet casts 
 his own magic spell over us ; and we accept the four days or one night 
 as equally possible, just as he wills. The means he uses are these : by 
 swift hints : — 
 
 Our queen and all her elves come here anon. — 
 
 The king doth keep his revels here to-night. — Mid. N. D., ii. i. 
 
 Ill met by moonlight, proud Titania. — Ibid., ii. z. 
 
 Well, go thy way : thou shalt not from this grove. 
 
 Till I torment thee for this injury. — Ibid., ii. 2. 
 
 Where is Lysander, and fair Hermia ? . . . 
 
 Thou told'st me they were stol'n into this wood ; 
 
 And here am I. — Ibid., ii. 2. 
 
 Fare thee well, nymph : ere he do leave this grove. 
 
 Thou shalt fly him, and he shall seek thy love. — Ibid., ii. 2. 
 
 I know a bank where the wild thyme blows. 
 
 Where oxlips, and the nodding violet grows ; 
 
 Quite over-canopied with luscious woodbine. 
 
 With sweet musk-roses, and with eglantine : 
 
 There sleeps Titania some time of the night, 
 
 Lull'd in these flowers with dances and delight. . . . 
 
 And ■with the juice of this I 'II streak her eyes, 
 
 And make her full of hateful fantasies. 
 
 Take thou some of it, and seek through this grove ; 
 
 A sweet Athenian lady is in love 
 
 With a disdainful youth : anoint his eyes ; 
 
 But do it when the next thing he espies 
 
 May be the lady : . . . 
 
 And look thou meet me ere the first cock crow. — Ibid., ii. 2. 
 
 Come, now a roundel and a fairy song ; 
 
 Then, for the third part of a minute, hence ; — 
 
 . . . Sing me now asleep ; 
 Then to your offices, and let me rest. — Ibid., ii. 3. 
 
 What thou see'st when thou dost wake, 
 
 [Squeezes the flower on Titania's eyelids. 
 
 Do it for thy true love take ; 
 
 Love and languish for his sake : 
 
 Be it ounce, or cat. or bear, 
 
 Pard, or boar with bristled hair, 
 
 In thy eye that shall appear 
 
 When thou wak'st, it is thy dear. 
 
 Wake when some vile thing is near. — Ibid., ii. 3. 
 Fair love, you faint with wandering in the wood ; 
 And, to speak troth, I have forgot our way : 
 
DRAMATIC TIME. 125 
 
 We 'II rest ns, Hermia, if you think it good, 
 
 And tarry for the comfort of the day. — 
 
 Be it so, Lysander : find you out a bed ; 
 
 For I upon this bank will rest my head. — Mid. N. D., ii. 3. 
 
 And, good night, sweet friend. 
 Thy love ne'er alter till thy sweet life end ! — ■ 
 Amen, amen, to that fair prayer, say I ; 
 And then end life, when I end loyalty ! 
 Here is my bed : sleep give thee all his rest ! — 
 
 With half that wish the wisher's eyes be press'd ! [They sleep. 
 
 Ibid., ii. 3. 
 
 Night and silence ! who is here ? 
 
 Weeds of Athens he doth wear : 
 
 This is he, my master said, 
 
 Despised the Athenian maid ; 
 
 And here the maiden, sleeping sound, 
 
 On the dank and dirty ground ; 
 
 Pretty soul ! she durst not lie 
 
 Near this lack-love, this kill-courtesy. 
 
 Churl, upon thy eyes I throw 
 
 {^Squeezes the flower on Lysander's eyelids. 
 
 All the power this charm doth owe. 
 
 When thou wak'st, let love forbid 
 
 Sleep his seat on thy eyelid : 
 
 So awake when I am gone. 
 
 For / must now to Oberon. — Ibid., ii. 3. 
 Are we all met ? — 
 
 Pat, pat ; and here's a marvellous convenient place for our rehearsal. This green 
 plot shall be our stage, this hawthorn brake our 'tiring-house. — Ibid., iii. i. 
 
 Titania (waking). What angel wakes me from my flowery bed ? — 
 
 Ibid., iii. i. 
 I pray thee, gentle mortal, sing again : 
 Mine ear is much enamour'd of thy note ; 
 So is mine eye enthralled to thy shape ; 
 And thy fair virtue's force perforce doth move me. 
 On the first view, to say, to swear, I love thee. — Ibid., iii. 1. 
 My mistress with a monster is in love. . . . 
 I led them on in this distracted fear. 
 And left sweet Pyramus translated there : 
 When in that moment (so it came to pass) 
 Titania wak'd and straightway lov'd an ass. — 
 This falls out better than I could devise. 
 But hast thou yet latch'd the Athenian's eyes 
 With the love-juice, as I did bid thee do ? — 
 I took him sleeping: that isfinish'd too. — Ibid., iii. z. 
 About the wood go swifter than the wind, 
 And Helena of Athens look thou find : . . . 
 By some illusion see thou bring her here : 
 I '11 charm his eyes against she do appear. — 
 / go, I go ; look how I go- 
 Swifter than arrow from the Tartar's bow.- — 
 
 Flower of this purple dye, 
 
 Hit with Cupid's archery, 
 
 [Squeezes the flower on Demetrius's eyelids. 
 
 Sink in apple of his eye. — Ibid., iii. 2. 
 Am I not Hermia ? Are not you Lysander ? 
 I am as fair now, as I was erewhile. 
 Since night, you lov'd me ; yet since night you left me. — Ibid., iii. 2. 
 
 In love unto Demetrius, 
 I told him of your stealth unto this wood, 
 
126 THE SHAKESPEARE KEY. 
 
 He follow'd you ; for love, I follow' d him ; 
 
 But he hath chid me hence, and threaten'd me 
 
 To strike me, spurn me, nay, to kill me too : 
 
 And now, so you will let me quiet go, 
 
 To Athens will I bear my folly back, 
 
 And follow you no farther : let me go. — Mid. N. D., iii. 2. 
 
 Now follow, if thou dar'st, to try whose right. 
 
 Of thine or mine, is most in Helena. — 
 
 Follow? nay, I II go with thee, cheek byjolc. — Ibid., iii. 2. 
 
 Hie therefore, Robin, overcast the night ; . . . 
 
 And from each other look thou lead them thus, 
 
 Till o'er their brows death-counterfeiting sleep 
 
 With leaden legs and batty wings doth creep ; 
 
 Then crush this herb into Lysander's eye ; 
 
 Whose liquor hath this virtuous property. 
 
 To take from thence all error with his might. 
 
 And make his eyeballs roll with wonted sight. 
 
 When they next wake, all this derision 
 
 Shall seem a dream and fruitless vision ; 
 
 And back to Athens shall the lovers wend. 
 
 With league, whose date till death shall never end. 
 
 Whiles I in this affair do thee employ, 
 
 I HI to my queen and beg her Indian boy ; 
 
 And then I will her charmed eye release 
 
 From monster's view, and all things shall be peace.^ 
 
 My fairy lord, this must be done with haste. 
 
 For night's swift dragons cut the clouds f till fast. 
 
 And yonder shines Aurora's harbinger ; 
 
 . . . haste ; make no delay : 
 We may effect this business yet ere day. — Ibid., iii. 2. 
 
 The villain is much lighter-heel'd than I : 
 
 I follow'd fast, but faster he did fly ; 
 
 That fallen am I in dark uneven way, 
 
 And here will rest me. (Lies down.) Come, thou gentle day ! — 
 
 . . . Faintness constraineth me 
 To measure out my length on this cold bed. 
 By day's approach look to be visited. — [Lies down and sleeps. 
 
 . . . Shine, comforts, from the east, 
 That I may back to Athens, by daylight. 
 From these that my poor company detest : 
 And sleep, that sometimes shuts up sorrow's eye, 
 Steal me awhile from mine own company. — [Lies down and sleeps. 
 Here will I rest me till the break of day. — [Lies down and sleeps. 
 
 On the ground sleep sound : 
 
 I'll apply to your eye, 
 Gentle lover, remedy. 
 
 [Squeezing the herb on Lysander's eyelids. 
 
 When thou wak'st thou tak'st 
 
 True delight in the sight 
 
 Of thy former lady's eye : 
 
 And the country proverb known. 
 
 That every man should take his own. 
 
 In your waking shall be shown. — Ibid., iii. 2. 
 
 And, gentle Puck, take this transformed scalp 
 
 From off the head of this Athenian swain ; 
 
 That he, awaking when the other do, 
 
 May all to Athens back again repair, 
 
 And think no more of this night's accidents. 
 
 But as the fierce vexation of a dream. 
 
 But first I will release the fairy queen. 
 
DRAMATIC TIME. 
 
 Be, as thou wast wont to be ; 
 
 [Touching her eyelids with a herb. 
 
 See, as thou wast wont to see : 
 
 Dian's bud o'er Cupid's flower 
 
 Hath such force and blessed power. 
 Now, my Titania; wake you, my sweet queen. — Mid. X. D., iv. i. 
 
 Come, my queen, take hands with me. 
 And rock the ground whereon these sleepers be. 
 Xo'^j thou and I are new in amity. 
 And ivill to-morrow midnight solemnly 
 Dance in Duke Theseus' house triumphantly : 
 And bless it to all fair prosperity. 
 There shall the pairs of faithful lovers be 
 Wedded, with Theseus, all in jollity. — 
 
 Fairy king, attend, and mark: 
 
 I do hear the morning lark. — 
 
 Then, my queen, in silence sad, 
 
 Trip we after the night's shade : 
 
 We the globe can compass soon. 
 
 Swifter than the watidering moon^ — 
 
 Come, my lord ; and in our flight. 
 
 Tell me how it came this night. 
 
 That I sleeping here was found 
 
 With these mortals on the ground. — Ibid., iv. i. 
 Go, one of you, find out the forester ; 
 For now our observation is performed ; 
 And since we have the vaward of the day. 
 My love shall hear the music of my hounds: 
 Uncouple in the western valley; let them go-; 
 Despatch, I say, and find the forester. — Ibid., iv. i. 
 
 But, soft ! what nymphs are these ? — 
 My lord, this is my daughter here asleep ; 
 And this, Lysander ; this Demetrius is ; 
 This Helena, old Nedar's Helena : 
 I wonder of their being together. — 
 No doubt they rose tip early to observe 
 The rite of May; and, hearing our intent. 
 Came here in grace of our solemnity. 
 But speak, Egeus ; is not this the day 
 That Herinia should give answer of her choice ? — 
 It is, my lord. — 
 Go, bid the huntsmen wake them with their horns. 
 
 {Exit an attendant. Horns and shout within. Lysander. 
 Demetrius, Hermia, and Helena, aicake and start up. 
 Good-morrow, friends. Saint Valentine is past : 
 Begin these woodbirds but to couple now ? — Ibid., iv. i. 
 
 Egeus, I will overbear your will ; 
 
 For, in the temple, by and by with us, 
 
 These couples shall eternally be knit : 
 
 Kni.for the morning now is something worn. 
 
 Our purpos'd hunting shall be set aside. 
 
 Away with us to Athens ; three and three. 
 
 We '11 hold a feast in great solemnity. — Ibid., iv. i. 
 
 Are you sure 
 That we are awake ? It seems to me 
 That yet we sleep, we dream. Do not you think 
 The duke was here, and bid us follow him ? — 
 Yea ; and my father. — 
 
 And Hippolyta. — 
 And he did bid us follow to the temple. — 
 
128 THE SHAKESPEARE KEY. 
 
 Why then, we are awake : let's follow him; 
 
 And by the way let us recount our dreams. — Mid. N. £>., iv. i. 
 Masters, the duke is coming from the temple, and there is two or three lords and 
 ladies more married. — Ibid., iv. 2. 
 
 The duke hath dined. Get your apparel together, good strings to your beards, new 
 ribbons to your pumps; meet presently at the palace ; every man look o'er his part; for 
 the short and the long is, our play is preferred. . . . No more words : away ! go : 
 away ! — Ibid., iv. 2. 
 
 'Tis strange, my Theseus, that these lovers speak of.— 
 
 More strange than true. — . . . 
 
 But all the story of the night told over, 
 
 And all their minds transfigur'd so together. 
 
 More witnesseth than fancy's images, 
 
 And grows to something of great constancy ; 
 
 But, howsoever, strange and admirable. — 
 
 Here come the lovers, full of joy and mirth. 
 
 Joy, gentle friends ! joy and fresh days of love. 
 
 Accompany your hearts. . . . 
 
 Come now, what masks, what dances shall we have. 
 
 To wear away this long age of three hours. 
 
 Between our after-supper and bedtime ? — Ibid., v. i. 
 
 The iron tongue of midnight hath told twelve : 
 Lovers, to bed; 'tis almost fairy time. — Ibid., v. i. 
 
 Now it is the time of night. 
 
 That the graves, all gaping wide. 
 Every one lets forth his sprite. 
 
 In the churchway paths to glide ; 
 And we fairies, that do run 
 
 By the triple Hecate's team, 
 From the presence of the sun. 
 
 Following darkness like a dream. 
 Now are frolic : — Ibid., v. i. 
 
 Now, until the break of day. 
 
 Through this house each fairy stray. . . . 
 
 Trip away ; make no stay ; 
 
 Meet me all by break of day. — Ibid., v. i. 
 
 If we shadows have offended. 
 Think but this (and all is mended). 
 That you have but slumber' d here. 
 While these visions did appear. 
 And this weak and idle theme. 
 No more yielding but a dream. . . . 
 So good night unto you all. — Ibid., v. i. 
 
 And now by slow hints : — 
 
 Now, fair Hippolyta, our nuptial hour 
 
 Draws on apace ; four happy days bring in 
 
 Another moon : but, oh, methinks, how slow 
 
 This old moon wanes ! She lingers my desires. 
 
 Like to a stepdame, or a dowager. 
 
 Long withering out a young man's revenue. — 
 
 Four days will quickly steep themselves in nights ; 
 
 Four nights will quickly dream away the time ; 
 
 And then the moon, like to a silver bow 
 
 New bent in heaven, shall behold the night 
 
 Of our solemnities. — Ibid., i. i. 
 
 Take time to pause ; and, by the next new moon 
 
 (The sealing-day betwixt my love and me 
 
 For everlasting bond of fellowship), 
 
DRAMATIC TIME. 129 
 
 Upon that day either prepare to die 
 
 For disobedience to your father's will, 
 
 Or else to wed Demetrius. — Mid, N. D., i. i. 
 
 Demetrius, and Egeus, go along : 
 
 / must employ you in some business 
 
 Against our nuptial; and confer with you 
 
 Of something nearly that concerns yourselves. — Ibid.. :. 1. 
 If thou lov'st me, then. 
 
 Steal forth thy father's house to-morrow night ; 
 
 And in the wood, a league without the town, . 
 
 There will I stay for thee. — . . . 
 
 In that same place thou hast appointed me. 
 
 To-morrow truly will I meet thee. — Ibid., i. i. 
 
 Helen, to you our minds we will unfold : 
 
 To-morrow night, when Phoebe doth behold 
 
 Her silver visage in the wat'ry glass, 
 
 Decking with liquid pearl the bladed grass 
 
 (A time that lovers' flights doth still conceal), 
 
 Through Athens' gates have we devised to steal. — 
 
 .And in the wood, where often you and I 
 
 Upon faint primrose-beds were wont to lie, 
 
 Emptying our bosoms of their counsel sweet, 
 
 There my Lysander and myself shall meet ; . . 
 
 Keep word, Lysander: we must starve our sight 
 
 From lovers' food till morrow deep midnight. — Ibid., i. i. 
 
 I will go tell him of fair Hermia's flight : 
 
 Then to the wood will he, to-morrow night. 
 
 Pursue her. — Ibid., i. 1. 
 Here is the scroll of every man's name, which is thought fit, through all Athens, to 
 play in our interlude before the duke and duchess on his wedding-day at niglit. — 
 Ibid., i. 2. 
 
 But, masters, here are your parts : and I am to entreat you, request you. and desire 
 you, to con them by to-morrow night ; and meet me in the palace wood, a mile without 
 the town, by moonlight; there will we rehearse. — Ibid., i. 2. 
 
 How long within this wood intend you stay ? — 
 Perchance till after Theseus' wedding-day. — Ibid., ii. _. 
 Doth the moon shine that night we play our play ? — 
 
 A calendar, a calendar ! look in the almanack ; find out moonshine, find out moon- 
 shine. — 
 Yes. it doth shine that night. — Ibid., iii. i. 
 
 A crew of patches, rude mechanicals. 
 That work for bread upon Athenian stalls, 
 'Were met together to rehearse a play, 
 Intended for great Theseus' nuptial day. — Ibid., iii. i. 
 
 The play of " The Merchant of Venice '' furnishes notable instances 
 of Shakespeare's system of dual Dramatic Time : he having given the 
 impression of rapidly passing time, occupied in the transit to and from 
 Venice and Belmont — an inconsiderable distance, as he has taken care 
 incidentally to mark — and also the impression of sufficient length of 
 time for the expiration of the date when the forfeiture in the bond 
 becomes due. The skill with which the dramatist contrives to dwell 
 upon the period of " three months " as that for which the money is 
 required that Antonio signs the bond for, fixing that period fully in' the 
 mind of the hearer or reader ere making the Jew substitute a vaguely 
 stated period by the words, " if you repay me not 011 such a day " — the 
 mode in which Shakespeare sways the imagination to believe that this 
 
 K 
 
130 THE SHAKESPEARE KEY. 
 
 vaguely stated period transpires while only a brief period is actually 
 shown to transpire — form part of his admirable system, as original in 
 invention as it is perfect in its carrying out. First, we have the 
 abbreviating process : — 
 
 Good-morrow, my good lords. — 
 
 Good signiors both, when shall we laugh ? Say, when ? . . . 
 
 My Lord Bassanio, since you have found Antonio, 
 
 We two will leave you : but, at dinner-time, 
 
 I pray you, have in mind where we must meet. — Mer. of V., i. i. 
 
 Come, good Lorenzo. Fare ye well, awhile : 
 
 I '11 end my exhortation after dinner. — 
 
 Well, we will leave you, then, till dinner-time. — Ibid., i. i. 
 
 Well ; tell me now, what lady is the same 
 
 To whom you swore a secret pilgrimage. 
 
 That you to-day promis'd to tell me of? — Ibid., i. i. 
 
 Go, presently inquire, and so will I, 
 
 Where money is ; and I no question make. 
 
 To have it of my trust, or for my sake. — Ibid., i. i. 
 
 The four strangers seek for you, madam, to take their leave : and there is a forerunner 
 come from a fifth, the Prince of Morocco; who brings word, the prince his master uill 
 be here to-night. — . . . Come, Nerissa. Sirrah, go before. Whiles we shut the gate 
 upon one wooer, another knocks at the door. — Ibid., i. 2. 
 
 May I speak with Antonio ? — If it please you to dine with us. — Ibid., i. 3. 
 
 Then meet me forthwith at the notary^s. 
 Give him direction for this merry bond ; 
 And / will go and purse the ducats straight! 
 I '11 to my house, left in the fearful guard 
 Of an unthrifty knave ; 3.nd presently 
 I will be with you. — • 
 
 Hie thee, gentle Jew. — Ibid., i. 3. 
 
 Come, bring me unto my chance. — 
 First, forward to the temple : after dinner 
 Your hazard shall be made. — Ibid., ii. i. 
 
 You may do so ; but let it be so hasted, that supper be ready at farthest by five of the 
 clock. See these letters delivered ; put the liveries to making; and desire Gratiano to 
 come anon to my lodging. — Ibid., ii. 2. 
 
 Thou hast obtain'd thy suit : 
 Shylock, thy master, spoke with me this day. 
 And hath preferr'd thee, if it be preferment. 
 To leave a rich Jew's service, to become 
 The follower of so poor a gentleman. — Ibid., ii. 2. 
 
 These things bought, and orderly bestow'd, 
 
 Return in haste, for / do feast to-night 
 
 My best esteem'd acquaintance: hie thee, go. — Ibid., ii. 2. 
 
 Nay, but/ bar to-night; you shall not gage me 
 By what we do to-night. — 
 
 No, that were pity : 
 I would entreat you rather to put on 
 Your boldest suit of mirth, for we have friends 
 That purpose merriment. But, fare you well ; 
 I have some business. — 
 And I must to Lorenzo and the rest : 
 But we will visit you at supper-time. — Ibid., ii. 2. 
 
 And, Launcelot, soon at supper shalt thou see 
 Lorenzo, who is thy new master's guest. — Ibid., ii. 3. 
 
DRAMATIC TIME. 131 
 
 Nay, we will slink away in siifper-time, 
 Disguise us at my lodging, and return 
 All in an hour. . . . 
 
 'Tis now but four o'clock : we have two hours 
 To furnish us. — Mer. of V., ii. 4. 
 Whither goest thou ? — • 
 Marry, sir, to bid my old master, the Jew, to sup to-night with my new master, the 
 Christian. — Ibid., ii. 4. 
 
 Gentlemen, 
 
 Will you prepare for this mask to-night? 
 
 I am provided of a torch-bearer. — 
 
 Ay, marry, / 'II be gone about it straight. — 
 
 And so will I. — 
 
 Meet me and Gratiano 
 At Gratiano's lodging some hour hence. . . . 
 Fair Jessica shall be my torch-bearer. — Ibid., ii. 4. 
 
 / am bid forth to supper, Jessica : 
 
 ... I am right loath to go : 
 There is some ill a-brewing towards my rest, 
 For I did dream of money-bags to-night. — 
 
 ... By Jacob's staff, I swear 
 I have no mind oi feasting forth to-night : 
 But I will go. . . . 
 
 . . . Well, Jessica, go in : 
 Perhaps I will return immediately. — Ibid., ii. 5. 
 
 This is the pent-house under which Lorenzo 
 Desir'd us to make stand. — 
 
 His hour is almost past. — 
 And it is marvel he outdwells his hour, 
 For lovers ever run before the clock. — Ibid., ii. 6. 
 
 So are you, sweet, 
 Even in the lovely garnish of a boy. 
 But come at once ; 
 
 For the close night doth play the runaway. 
 And we are siay'dfor at Bassanio's feast. — 
 I will make fast the doors, and gild myself 
 With some more ducats, and be with you straight. . . . 
 What, art thou come ? On, gentlemen; away I 
 Our masking mates by this time for us stay. — Ibid., ii. 6. 
 Fie, fie, Gratiano ! where are all the rest ? 
 'Tis nine o'clock ; our friends all stay for you. 
 No mask to-night : the wind is come about; 
 Bassanio presently will go aboard : 
 I have sent twenty out to seek for you. — 
 I am glad on 't : I desire no more delight 
 Than to be under sail and gone to-night. — Ibid., ii. 6. 
 Portia, adieu. I have too griev'd a heart 
 To take a tedious leave : thus lovers part. — Ibid., ii. 7. 
 Why, man, / saw Bassanio under sail : 
 With him is Gratiano gone along ; 
 And in their ship, I 'm sure, Lorenzo is not. — 
 The villain Jew with outcries rais'd the duke ; 
 Who went with him to search Bassanio's ship.^ 
 He came too late, the ship was under sail : 
 But there the duke was given to understand 
 That in a gondola were seen together 
 Lorenzo and his amorous jfessica. 
 Besides Antonio certified the duke. 
 They were not with Bassanio in his ship. — Ibid., ii. 8. 
 
 K 2 
 
132 THE SHAKESPEARE KEY. 
 
 Quick, quick, I pray thee; draw the curtain straight: 
 
 The Prince of Arragon hath ta'en his oath, 
 
 And comes to his election presently. — 
 
 Behold, there stand the caskets, noble prince: 
 
 If you choose that wherein I am contain'd. 
 
 Straight shall our nuptial rites be solemniz'd ; * 
 
 But if you fail, without more speech, my lord. 
 
 You must be gone from hence immediately. — Mer. of V., ii. g. 
 
 Give me a key for this, 
 And instantly unlock my fortunes here. . . . 
 
 Sweet, adieu. I '11 keep my oath, 
 
 Patiently to bear my wroth. . . . 
 Come, draw the curtain, Nerissa. . . . 
 Madam, there is alighted at your gate 
 A young Venetian, one that comes before 
 To signify the approaching of his lord ; 
 . . . Yet I have not seen 
 So likely an embassador of love. . . . 
 Come, come, Nerissa ; for I long to see 
 Quick Cupid's post, that comes so mannerly. — Ibid., ii. g. 
 
 Let me choose ; 
 For, as I am, I live upon the rack. — Ibid., iii. :i. 
 
 My eyes, my lord, can look as swift as yours : 
 
 You saw the mistress, I beheld the maid : 
 
 You lov'd, I lov'd ; for intermission 
 
 No more pertains to me, my lord, than you. 
 
 Your fortune stood upon the caskets there ; 
 
 And so did mine too, as the matter falls. — Ibid., iii. 2. 
 
 Lorenzo and Salanio, welcome hither ; 
 If that the youth of my new interest here 
 Have power to bid you welcome. — Ibid., iii. 2. 
 
 First, go with me to church and call me wife. 
 And then away to Venice to your friend ; 
 
 . . . Come, away ! 
 For you shall hence upon your wedding-day . . . 
 O love, despatch all business, and be gone ! — 
 Since I have your good leave to go away, 
 / will make haste : but, till I come again, 
 No bed shall e'er be guilty of my stay, 
 Nor rest be interposer 'twixt us twain. — Ibid., iii. .i. 
 
 These griefs and losses have so bated me. 
 That / shall hardly spare a pound offcsh 
 To-morrow to my bloody creditor, — Ibid., iii. 3. 
 
 Take this same letter, 
 And use thou all the endeavour of a man 
 In speed to Padua : see thou render this 
 Into my cousin's hand. Doctor Bellario; 
 And, look, what notes and garments he doth give thee, 
 Bring them, I pray thee, with imagined speed 
 Unto the Tranect, to the common ferry 
 Which trades to Venice. Waste no time in words. 
 But get thee gone : I shall be there before thee. — 
 Madam, / go with all convenient speed. — Ibid., iii. 4. 
 
 But, come, I 'II tell thee all my whole device 
 
 When I am in my coach, which stays for us 
 
 At the park gate ; and therefore haste away. 
 
 For we must measure twenty miles to-day. — Ibid., iii. 4. 
 
DRAMATIC TIME. 133 
 
 Go in, sirrah ; bid them prepare for dinner. — That is done, sir ; they have all 
 stomachs. — Goodly lord, what a wit-snapper are you ! then, bid them prepare dinner. — 
 That is done too, sir ; only, cover is the word. — . . . Go to thy fellows ; bid them cover 
 the table, serve in the meat, and we will come in to dinner. — Mer. of V., iii. 5. 
 
 Nay, but ask my opinion, too, of that. — 
 
 I will anon : first let us go to dinner.— Ibid., iii. 5. 
 
 Go one, and call the Jew into the court. — 
 
 He's ready at the door : he comes, my lord. — Ibid., iv. 1. 
 
 Therefore, I do beseech you, 
 Make no more offers, use no farther means. 
 But, with all brief and plain conveniency, 
 Let me have judgment, and the Jew his will. — Ibid., iv. i. 
 
 Upon my power I may dismiss this court. 
 Unless Bellario, a learned doctor. 
 Whom I have sent for to determine this. 
 Come here to-day. — 
 
 My lord, here stays without 
 A messenger with Utters from the doctor, 
 New come from Padua. — 
 Bring us the letters ; call the messenger. — Ibid., iv. i. 
 
 This letter from Bellario doth commend 
 
 A young and learned doctor to our court. . . . 
 " Your grace shall understand, that at the receipt of your letter I am very sick : but 
 in the instant that your messenger came, in loving visitation was with me a young 
 doctor. ... I acquainted him with the cause in controversy between the Jew and 
 Antonio the merchant : we turned o'er many books together : he is furnished with my 
 opinion ; which, bettered with his own learning (the greatness whereof I cannot enough 
 commend), comes with him, at my importunity, to fill up your grace's request in my 
 stead." . . . And here, I take it, is the doctor come. Give me your hand. Came you 
 from old Bellario ? — 
 
 I did, my lord. — 
 
 You are welcome: take your place. — Ibid., iv. i. 
 
 Sir, I entreat you home with me to dinner. — 
 I humbly do desire your grace of pardon : 
 / must away this night toward Padua, 
 hniit is meet I presently set forth. . . . 
 Most worthy gentleman, I and my friend 
 Have by your wisdom been this day acquitted 
 Of grievous penalties. — Ibid., iv. i. 
 
 Go, Gratiano, run and overtake him ; 
 
 Give him the ring ; and bring him, if thou canst, 
 
 Unto Antonio's house : away / make haste. 
 
 Come, you and I will thither presently ; 
 
 And in the morning early will we both 
 
 Fly toward Belmont : come, Antonio. — Ibid., iv. i. 
 
 Inquire the Jew's house out, give him this deed. 
 
 And let him sign it : we 'II away to-night. 
 
 And be a day before our husbands home. . . . 
 
 Fair sir, yoti are well o'erta'en : 
 
 My lord Bassanio, upon more advice. 
 
 Hath sent you here this ring ; and doth entreat 
 
 Your company at dinner. — 
 
 That cannot be. . . . 
 Away ! make haste : thou know'st where I will tarry. — Ibid., iv. 2. 
 
 The moon shines bright ; in such a night as this. 
 When the sweet wind did gently kiss the trees. 
 And they did make no noise — in such a night. . . 
 Who comes so fast in silence of the night l — Ibid., v. i 
 
134 THE SHAKESPEARE KEY. 
 
 My mistress will before the break of day 
 Be here at Belmont. — . . . 
 
 . . . My master will be here ere morning. 
 Sweet soul, let's in, and there expect their coming. 
 And yet no matter ; why should we go in ? 
 My friend Stephano, signify, I pray you, 
 Within the house, yojir mistress is at hand ; 
 And bring your music forth into the air. 
 How sweet the moonlight sleeps upon this bank ! 
 Here will we sit^ and let the sounds of music 
 Creep in our ears : soft stillness and the night 
 Become the touches of sweet harmony, — Sier of V., v. i. 
 Dear lady, welcome home. — 
 
 We have been praying for our husbands' welfare, 
 Which speed, we hope, the better for our words. 
 Are they returned ? — 
 
 Madam, they are not yet ; 
 But there is come a messenger before. 
 To signify their coming. . . . 
 
 Your husband is at hand ; I hear his trumpet. — Ibid., v. i. 
 This nighty methinks, is but the Qaylight sick ; 
 It looks a little paler . . . 
 
 . . . You are welcome home, my lord. — Ibid., v. i. 
 And pardon me, my gentle Gratiano ; 
 For that same scrubbed boy, the doctor's clerk. 
 In lieu of this last night did lie with me. — Ibid., i. i. 
 Here is a letter, read it at your leisure ; 
 It comes from Padua, from Bellario : 
 There you shall find that Portia was the doctor ; 
 Nerissa there, her clerk : Lorenzo here 
 Shall witness / set forth as soon as you. 
 And e"cn but now return'd ; / have not yet 
 Enter'd my house. — Ibid., v. i. 
 
 It is almost morning. 
 And yet I am sure you are not satisfied 
 Of these events at full. — Ibid., v. i. 
 Or go to bed now, being two hours to-day. — Ibid.. \ . i. 
 
 Then comes the prolonging process : — 
 
 Three thousand ducats ; well. — Ay, sir, for three months. — For three months: well, 
 three thousand ducats/oy three months, and Antonio bound. — Ibid., i. 3. 
 But soft ! how many months do you desire ? — Ibid., i. 3. 
 And/o>- three months. — I had forgot : three months, you told me so. — Ibid., i. 3. 
 
 Three months from twelve, then let me see the rate. — Ibid., i. 3. 
 
 Go with me to a notary, seal me there 
 
 Your single bond ; and, in a merry sport. 
 
 If you repay me not on such a day. 
 
 In such a place, such sum or sums as are 
 
 Express'd in the condition, let the forfeit 
 
 Be nominated for an equal pound 
 
 Of your fair flesh. — Ibid., i. 3. 
 
 Why, fear not, man ; I will not forfeit it : 
 
 Within these two months — that's a month before 
 
 This bond expires — I do expect return 
 
 Of thrice three times the value of this bond.— /fii'rf.. i. 3. 
 
 My ships come home a month before the day. — Ibid., i. 3. 
 
 Let good Antonio look he keep his day, 
 
 Or he shall pay for this. — 
 
DRAMATIC TIME. 135 
 
 Marry, well remember'd. 
 I reasoned with a Fienchma.n yesterday, 
 Who told me — in the narrow seas that part 
 The French and English, there miscarried 
 A vessel of our country, richly fraught ; 
 I thought upon Antonio when he told me ;■ 
 And wish'd in silence that it were not his. — Mxir. of V., ii. S. 
 I saw Bassanio and Antonio part ; 
 Bassanio told him he would make some speed 
 Of his return ; he answer'd, " Do not so ; 
 Slubber not business for my sake, Bassanio, 
 But stay the very riping of the time ; 
 And for the Jew's bond which he hath of me. 
 Let it not enter in youT mind of love." — Ibid., ii. 8. 
 
 What news on the Rialto ? — Why, yet it lives there unchecked, that Antonio hath a 
 ship of rich lading wrecked on the narrow seas. — Ibid., iii. i.' 
 
 Do you hear whether Antonio have had any loss at sea or no ? — There I have 
 another bad match : a bankrupt, who dare scarce show his head on the Rialto : a 
 beggar, that U'as used to come so smug upon the mart : let him look to his bond. — 
 Ibid., iii. i. 
 
 How now. Tubal ! What news from Genoa ? hast thou found my daughter ? — / often 
 came where I did hear of her, but cannot find her. — . . . Would she were hears'd at my 
 foot, and the ducats in her coffin ! No news of them ? Why, so : and I know not '.chat's 
 spent in the search : Why thou — loss upon loss ! the thief gone with so much, and so much 
 to find the thief; and no satisfaction, no revenge : nor no ill luck stirring but what lights 
 0' my shoulders. . . . — Yes, other men have ill luck too. Antonio, as I heard in 
 Genoa, — What, what, what ? ill luck, ill luck ? — Hath an argosy cast away, coming 
 from Tripolis. — I thank God ! I thank God ! Is it true, is it true ? — I spoke with some 
 of the sailors that escaped the wreck, — I thank thee, good Tubal.. Good news, good 
 news! ha! ha! Where.' in Genoa.' — Your daughter spent in Genoa, as I heard, one 
 night fourscore ducats. . . . There came divers of Antonio's creditors in my company to 
 Venice, that swear he cannot choose but break, . . . One of them showed me a ring, 
 that he had of your daughter for a monkey. . . . But Antonio is certainly undone. — 
 Nay, that 's true, that 's very true. Go, Tubal, fee me an officer ; bespeak him a 
 fortnight before. I will have the heart of him, if he forfeit. — Ibid., iii. i. 
 
 I pray you, tarry : paitse a day or two 
 
 Before you hazard ; for, in choosing wrong, 
 
 I lose your company ; thereiore, forbear awhile. 
 
 I would detain you here some month or two, 
 
 Before you venture for me. . , . 
 
 I speak too long ; but 'tis to peize the time. 
 
 To eke it, and to draw it out in length. 
 
 To stay you from election. — Ibid., iii. 2. 
 
 He plies the duke at morning and at night ; 
 And doth impeach the freedom of the state. 
 If they deny him justice : twenty merchants. 
 The duke himself, and the magnificoes 
 Of greatest port, have all persuaded with him ; 
 But none can drive him from the envious plea 
 Of forfeiture, of justice, and his bond. — 
 When I was with him, I have heard him swear. 
 To Tubal, and to Chus, his countrymen. 
 That he would rather have Antonio's ilesh 
 Than twenty times the value of the sum 
 That he did owe him. — Ibid., iii. 2. 
 
 My ships have all miscarried, my creditors grow cruel, my estate is very low. my bond 
 to the Jew is forfeit ; and since in paying it, it is impossible I should live, all debts are 
 cleared between you and I, if I might see you at my death. Notwithstanding, use 
 your pleasure : if your love do not persuade you to come, let not my letter. — Ibid., iii. 2. 
 
136 THE SHAKESPEARE KEY. 
 
 Gaoler, look to him : tell not me of mercy. . . . 
 Gaoler, look to him. — 
 
 Hear me yet, good Shylock. — 
 I '11 have my bond ; speak not against my bond : 
 I have sworn an oath that I will have my bond. . . . 
 The duke shall grant me justice. I do wonder. 
 Thou naughty gaoler, that thou art so fond 
 To come abroad with him at his request. — 
 I pray thee, hear me speak. — 
 I '11 have my bond ; I will not hear thee speak : 
 I '11 have my bond ; and therefore speak no more. 
 I '11 not be made a soft and dull-ey'd fool, 
 To shake the head, relent, and sigh, and yield 
 To Christian intercessors. Follow not ; 
 
 I '11 have no speaking : I will have my bond. — Mer. of V., iii. 3. 
 Lorenzo, I commit into your hands 
 The husbandry and manage of my house, 
 Until my lord's return : for mine own part, 
 I have toward heaven breath'd a secret vow 
 To live in prayer and contemplation, 
 Only attended by Nerissa here. 
 Until her husband and my lord's return : 
 There is a monastery two miles off. 
 And there we will abide. — Ibid., iii. 4. 
 My people do already know my mind. 
 And will acknowledge you and Jessica 
 In place of lord Bassanio and myself. 
 So fare you well, till we shall meet again. — 
 Fair thoughts and happy hours attend on you ! — Ibid., iii. 4. 
 Shylock, the world thinks, and I think so too. 
 That thou but lead'st this fashion of tliy malice 
 To the last hour of act ; and then, 'tis thought. 
 Thou 'It show thy mercy and remorse, more strange 
 Than is thy strange apparent cruelty ; 
 And where thou now exact'st the penalty 
 (Which is a pound of this poor merchant's flesh). 
 Thou wilt not only loose the forfeiture. 
 But, touch'd with human gentleness and love. 
 Forgive a moiety of the principal ; 
 Glancing an eye of pity on his losses. 
 That have of late so huddled on his back, 
 Enow to press a royal merchant down. — Ibid., iv. r. 
 I pray you, is my master yet return'd ? — 
 He is not, nor we have not heard from him. — Ibid., v. 1. 
 
 In the enchanting sylvan drama of " As You Like It," Shakespeare 
 has combined the effect of a transitory scene of romantic life with the 
 effect of enough space of time to allow a vision of an indefinite number 
 of days, weeks — what you will — passing before the imagination as 
 spent in that most perfect of poetical woods, the Forest of Arden. To 
 give the effect of transitoriness befitting the few hours wherein a play 
 is performed, he gives many more hints of short time than of long 
 time ; and he aids this by the introduction of abruptness in event and 
 promptness in action — having no fewer than four cases of love at first 
 sight (Orlando and Rosalind, Oliver and Celia, Phoebe and Ganymede, 
 Touchstone and Audrey), together with the sudden conversion of the 
 usurping duke, related in the last scene of the play. The numerous 
 hints of Short Time are these: — 
 
DRAMATIC TIME. 137 
 
 Was not Charles, the duke's wrestler, here to speak with me ? — So please you, lie is 
 here at the door, and importunes access to you. — Call him in. 'Twill be a good way ; 
 and to-morroiii the wrestling is. — Good-morrow to your worship. . . . You wrestle to- 
 morrow before the new duke ? — Marry, do I, sir ; . . . To-morrow, sir, / wrestle for my 
 credit. — As You L., i. 1. 
 
 If he come to-morrow, I '11 give him his payment. . . . it shall not be so long ; this 
 wrestler shall clear all : nothing remains but that I kindle the boy thither ; which no'u.- 
 I HI go about. — Ibid; i. ji. 
 
 Shall we see this wrestling, cousin ? — You must, if you stay here ; for here is the 
 place appointed for the wrestling, and they are ready to perform it. — Yonder, sure, they 
 are coming : let us now stay and see it. — Ibid., i. 2. 
 
 Is it possible, on such a sudden, you should fall into so strong a liking with old Sir 
 Rowland's youngest son ? — Ibid., i. 3. 
 
 Look, here comes the duke. — With his eyes full of anger. 
 Mistress, despatch you with your safest haste. 
 And get you from our court.- — Ibid., i. 3. 
 
 You, niece, provide yourself: 
 If you outstay the time, upon mine honour. 
 And in the greatness of my word, you die. — Ibid., i. 3. 
 
 Let's away, 
 And get our jewels and our wealth together ; 
 Devise the fittest time and safest way 
 To hide us from pursuit that will be made 
 After my flight. Now go we in content 
 To liberty, and not to banishment. — Ibid., i. 3. 
 
 The melancholy Jaques grieves at that, . . . 
 To-day my lord of Amiens and myself 
 Did steal behind him, as he lay along 
 Under an oak. . . . — Show me the place : 
 I love to cope him in these sullen fits, 
 For then he's full of matter. — 
 I '11 bring you to him straight. — Ibid., ii. i. 
 
 The ladies, her attendants of her chamber, 
 
 Saw her a-bed ; and, in the morning earlv. 
 
 They found the bed untreasur'd of their mistress. — 
 
 . . . She believes, wherever they are gone. 
 
 That youth is surely in their company. — 
 
 Send to his brother ; fetch that gallant hither : 
 
 If he be absent, bring his brother to me ; 
 
 I '11 make him find him : do this suddenly : 
 
 And let not search and inquisition quail 
 
 To bring again these foolish runaways. — Ibid., ii. >:. 
 
 Why would you be so fond to overcome 
 
 The bony priser of the humorous duke ? 
 
 Your praise is come too swiftly home before you. — Ibid., ii. 3. 
 
 Your brother . . . 
 
 Hath heard your praises; and this night he means 
 
 To burn the lodging were you use to lie. 
 
 And you within it. — Ibid., ii. 3. 
 
 Why, whither, Adam, wouldst thou have me go ? 
 
 No matter whither, so you come not here. — 
 
 . . . Come thy ways ; we 'II go along together ; 
 And ere we have thy youthful wages spent. 
 We '11 light upon some settled low content. — 
 Master, go on, and I will follow thee 
 To the last gasp, with truth and loyalty. — Ibid., ii. 3. 
 Now am I in Arden; the more fool I. — Ibid., ii. 4. 
 
138 THE SHAKESPEARE KEY. 
 
 Good even to yoti^ friend. — 
 
 And to you, gentle sir, and to you all. — As You L.. ii. 4. 
 
 Assuredly, the thing is to be sold : 
 
 Go with me : if you like, upon report. 
 
 The soil, the profit, and this kind of life, 
 
 I will your very faithful feeder be. 
 
 And buy it with your gold right suddenly. — Ibid., ii. 4. 
 
 Well. I "11 end the song. Sirs, cover the while ; the duke 'will drink under this tree. 
 He hath been all this day to look you. — And I have been all this day to avoid him. — 
 Ibid., ii. 5. 
 
 For my sake be comfortable ; hold death awhile at the arm's end : / will here be 
 with thee presently ; and if I bring thee not something to eat. I will give thee leave to 
 die : but if thou diest before I come, thou art a mocker of my labour. Well said ! 
 thou lookest cheerly; and I'll be with thee quickly. — Ibid., ii. 6. 
 
 My lord, he is but even now gone hence : 
 
 Here was he merry, hearing, of a song. . . . 
 
 Go, seek him : tell him I would speak with him. — 
 
 He saves my labour by his own approach. — Ibid., ii. 7. 
 
 " Good-morrow, fool," quoth I. " No, sir," quoth he, 
 
 " Call me not fool till Heaven hath sent me fortune : " 
 
 And then he drew a dial from his poke, 
 
 And, looking on it with lack-lustre eye, 
 
 Says very wisely, " It is ten o'clock : 
 
 Thus may we see," quoth he, " how the world wags : 
 
 'Tis but an hour ago since it was nine ; 
 
 And after one hour more 'twill be eleven : 
 
 And so, from hour to hour, we ripe and ripe. 
 
 And then, from hour to hour, we rot and rot ; 
 
 And thereby hangs a tale. — Ibid., ii. 7. 
 
 Then, but forbear your food a little while. 
 
 Whiles, like a doe, I go to find my fawn. 
 
 And give it food. There is an old poor man. 
 
 Who after me hath many a weary step 
 
 Limp'd in pure love : till he be first sujfie'd, 
 
 Oppress'd with two weak evils, age and hunger. 
 
 / will not touch a bit. — 
 
 Go find him out. 
 
 And we will nothing waste till you return. — Ibid., ii. 7. 
 
 Welcome. Set down your venerable burden. 
 
 And let him feed. — 
 
 I thank you most for him. . . . 
 
 Welcome ; fall to. — Ibid., ii. 7. 
 
 More villain thou. Well, push him out of doors ; 
 
 And let my ofScers of such a nature 
 
 Make an extent upon his house and lands : 
 
 Do this expediently, and turn him going. — Ibid., iii. i. 
 I pray j'ou. H'hat is't o'clock ? You should ask me, what time o' day: there's no clock 
 in the forest. — Ibid., iii. ^. 
 
 My cote . . . Go with me to it. and I '11 show it you : and, by the way, you shall tell 
 me where in the forest you live. Will you go} — With all my heart, good youth. — Nay, 
 you must call me Rosalind. Come, sister, will you go .'—Ibid., iii. 2. 
 
 Come apace, good Audrey ; I will fetch up your goats, Audrey. And how, Audrey ? 
 Am I the man yet ? Doth my simple feature content you ? . . . / am here with thee 
 and thy goats, as the most capricious poet, honest Ovid, was among the Goths. — 
 Ibid., iii. 3. 
 
 Be it as it may be, / will marry thee ; and to that end, I have been with Sir Oliver 
 Mar-text, the vicar of the next village ; who hath promised to meet me in this place of 
 the forest, and to couple us . . . Here comes Sir Oliver. Sir Oliver Mar-text, you are 
 
DRAMATIC TIME. 139 
 
 well met: will you despatch us here under this tree, or shall we go with you to your 
 chapel ? — Is there none here to give the woman ? . . . She must be given, or the 
 marriage is not lawful. — Proceed, proceed : I '11 give her. — Good even, good Master 
 What-ye-call 't ; . . . even a toy in hand here, sir : nay, pray, be covered. — Will you 
 be married, motley? — As You L., iii. 3. 
 
 Why did he swear he would come this morning, and comes not ? — Ibid., iii. 4. 
 
 If you will see a pageant truly play'd. 
 
 Between the pale complexion of true love 
 
 And the red glow of scorn and proud disdain, 
 
 Go hence a little, and I shall conduct you. 
 
 If you will mark it.— 
 
 come, let us remove : 
 
 The sight of lovers feedeth those in love. 
 
 Bring us to this sight. — Ibid., iii. 4. 
 
 Dead shepherd, now I find thy saw of might, — 
 
 " Who ever lov'd that lov'd not at first sight ? " — Ibid., iii. 5. 
 
 I '11 write to him a very taunting letter. 
 
 And thou shalt bear it : wilt thou, Silvius ? — 
 
 Phcebe, with all my heart. — 
 
 I HI write it straight. — Ibid., iii. 5. 
 Good day, and happiness, dear Rosalind ! . . . 
 
 Why, how now, Orlando ! where have you been all this while ? You a lover ? An 
 you serve me such another trick, never come in my sight more. — My fair Rosalind, 
 / come within an hour of my promise. — Break an hour's promise in love! He that will 
 divide a minute into a thousand parts, and break but a part of the thousandth part of a 
 minute in the affairs of love, it may be said of him, that Cupid hath clapped him o' the 
 shoulder, but I '11 warrant him heart-whole. — Ibid., iv. i. 
 
 Come, woo me, woo me ; for now I am in a holiday humour, and like enough to con- 
 sent. — Ibid., iv. I. 
 
 For these two hours, Rosalind, I will leave thee. — Alas, dear love ! I cannot lack thee 
 two hours. — I must attend the duke at dinner : by two o'clock I will be with thee again. — 
 . . . Two o'clock is your hour ? . . If you break one jot of your promise, or come oh<7 
 minute behind your hour, I will think you the most pathetical break-promise. — Ibid., iv. i. 
 I 'II tell thee, Aliena, / cannot be out of the sight of Orlando : I 'II go find a shadow, 
 and sigh till he come. — Ibid., iv. i. 
 
 How say you now ? Is it not fast two o'clock? and here much Orlando ! . . . Look, 
 who comes here ? — 
 
 My errand is to you, fair youth ; 
 
 My gentle Phcebe did bid me give you this : [Giving a letter. 
 
 I know not the contents. . . . 
 Well, go your way to her, ... If you be a true lover, hence, and not a word ; for 
 here comes more company. — 
 
 Good morrow, fair ones : pray you, if you know 
 
 Where in the purlieus of this forest stands 
 
 A sheepcote, fenc'd about with olive-trees ? — 
 
 West of this place, down in the neighbour bottom : . . . 
 
 But at this hour the house doth keep itself; 
 
 There's none within. . . . 
 
 When last the young Orlando parted from you. 
 
 He left a promise to return again 
 
 Within an hour. — Ibid., iv. 3. 
 
 In brief, he led me to the gentle duke. 
 
 Who gave me fresh array and entertainment. 
 
 Committing me unto my brother's love ; 
 
 Who led me instantly unto his cave. 
 
 There stripp'd himself, and here upon his arm 
 
 The lioness had torn some flesh away, 
 
 Which all this time had bled ; and now he fainted, 
 
 And cried, in fainting, upon Rosalind. 
 
HO THE SHAKESPEARE KEY. 
 
 Brief, I recover'd him, bound up his wound ; 
 
 And, after some small space, being strong at heart, 
 
 He sent me hither, stranger as I am, 
 
 To tell this story, that you might excuse 
 
 His broken promise. — As You L., iv. 3. 
 Pray you, draw homewards. Good sir, go with us. — That will I, for I must bear 
 answer back how you excuse my brother, Rosalind. — . , . Will you go ? — Ibid., iv. 3. 
 Good even, Audrey. — God ye good even, Wilham. — And good even to you, sir. — Good 
 even, gentle friend. — Ibid., v. i. 
 
 Therefore tremble, and depart. — Do, good William. — God rest you merry, sir. — Our 
 master and mistress seek you; come, away, away ! — Trip, Audrey; trip, Audrey. I 
 attend, I attend. — Ibid., v. i. 
 
 Is 't possible, that on so little acquaintance you should like her ? that, but seeing, 
 you should love her ? and, loving, woo ? and, wooing, she should grant ? and will 
 you persever to enjoy her? — Neither call the giddiness of it in question, the 
 poverty of her, the small acquaintance, my sudden wooing, nor her sudden consenting ; 
 but say with me, I loveAliena; say with her, that she loves me ; consent with both, 
 that we may enjoy each other ; it shall be to your good ; for my father's house, and all 
 the revenue that was old Sir Rowland's will I estate upon you, and here live and die a 
 shepherd. — You have my consent. Let your wedding be to-morrow : thither will I 
 invite the duke, and all his contented followers. Go you and prepare Aliena; for 
 look you, here comes my Rosalind. — Ibid., v. 2. 
 
 There was never anything so sudden, but the fight of two rams, and Csesar's 
 thrasonical brag of — " I came, saw, and overcame ; " for your brother and my sister 
 no sooner met, but they looked; no sooner looked, but they loved ; no sooner loved, but 
 they sighed; no sootier sighed, but they asked one another the reason; no sooner knew 
 the reason, but they sought the remedy : and in these degrees have they made a pair of 
 stairs to marriage, which they will climb incontinent. . . . They shall be married 
 to-morrow, and I will bid the duke to the nuptial. — Ibid., v. 2. 
 
 By so much the more shall I to-morrow be at the height of heart-heaviness, by how 
 much I shall think my brother happy in having what he wishes for. — Why, then, 
 to-morrow I cannot serve your turn for Rosalind? — I can live no longer by thinking. — 
 I will weary you, then, no longer with idle talking. . . . If you do love Rosalind so 
 near the heart as your gesture cries it out, when your brother marries Aliena, shall you 
 marry her ; ... it is not impossible to me, if it appear not inconvenient to you, to set 
 her before your eyes to-morrow. . . . Therefore, put you in your best array, bid your 
 friends ; for if you will be married to-morrow, you shall ; and to Rosalind, if you will. 
 — Ibid., V. 2. 
 
 To-morrow meet me all together, I will marry you, if ever I marry woman, and I 'II 
 be married to-morrow : I will satisfy you, if ever I satisfied man, and you shall be 
 married to-morrow : I will content you, if what pleases you contents you, and you 
 shall be married to-morrow. — Ibid., v. 2. 
 
 To-morrow is the joyful day, Audrey, to-morrow will we be married. — Ibid., v. 3. 
 
 I have promis'd to make all this matter even. 
 Keep you your word, O duke, to give your daughter ; 
 You yours, Orlando, to receive his daughter : 
 Keep your word, Phoebe, that you '11 marry me. 
 Or else, refusing me, to wed this shepherd : 
 Keep your word, Silvius, that you '11 marry her. 
 If she refuse me : and from hence I go. 
 To make these doubts all even. — Ibid., v. 4. 
 
 Here^s eight that must take hands. 
 
 To join in Hymen's bands. . . . 
 
 Whiles a wedlock-hymn we sing. 
 
 Feed yourselves with questioning ; 
 
 That reason wonder may diminish. 
 
 How thus we met, and these things finish. — Ibid., v. 4. 
 And to the skirts of this wild wood he came ; 
 Where, meeting with an old religious man, 
 
DRAMATIC TIME. 141 
 
 After some question with him, was converted 
 
 Both from his enterprise and from the world ; 
 
 His crown bequeathing to his banish'd brother, 
 
 And all their lands restor'd to them again, 
 
 That were with him exiled. — As Yon L., v. 4. 
 
 Proceed, proceed : we will begin these rites, 
 
 As we do trust they '11 end, in true delights. — Ibid., v. 4. 
 
 The hints of Long Time are these : — 
 
 There 's no news at thecourt, sir, but the old news : that is the old duke is banished by 
 his younger brother, the new duke. . . . Where will the old duke live ? — They say, he is 
 already in the forest of Arden. and a many merry men with him ; and there they live 
 like the old Robin Hood of England : they say, many young gentlemen tlock to him 
 every day, 3,ni fleet the time carelessly, as they did in the golden world. — Ibid., i. i. 
 
 But I can tell you, that of late this duke 
 
 Hath ta'en displeasure 'gainst his gentle niece. 
 
 Grounded upon no other argument. 
 
 But that the people praise her for her virtues. 
 
 And pity her for her good father's sake. — Ibid., i. 2. 
 
 Within these ten days if that thou be'st found 
 
 So near our public court as twenty miles, 
 
 Thou diest for it. — Ibid., i. 3. 
 
 Ay, Celia ; we stay'd her for your sake. 
 
 Else had she with her father rang'd along. — 
 
 I did not then entreat to have her stay ; 
 
 It was your pleasure, and your own remorse : 
 
 I was too young that time to value her ; 
 
 But now I know her : if she be a traitor, 
 
 Why so am I ; we still have slept together ; 
 
 Rose at an instant, learn'd, play'd, eat together ; 
 
 And wheresoe'er we went, like Juno's swans. 
 
 Still we went coupled and inseparable. — Ibid., i. 3. 
 
 I pray thee, if it stand with honesty, 
 
 Buy thou the cottage, pasture, and the flock. 
 
 And thou shalt have to pay for it of us. — 
 
 And we will mend thy wages. I like this place. 
 
 And willingly could waste my time in it. — Ibid., ii. 4. 
 
 I '11 give you a verse to this note, that I made yesterday in despite of mv invention. — 
 Ibid., ii. 5. 
 
 Find out thy brother, wheresoe'er he is ; 
 Seek him with candle ; bring him dead or living, 
 Within this twelvemonth, or turn thou no more 
 To seek a living in our territory. — Ibid., iii. i. 
 And how like you this shepherd's life, Master Touchstone? — Ibid., iii. 2. 
 Is it a man ? — And a chain, that you once wore, about his neck. Change 3'ou 
 colour ? — Ibid., iii. 2. 
 
 But doth he know that I am in this forest, and in man's apparel ? Looks he as 
 freshly as he did the day he wrestled ? — Ibid., iii. 2. 
 
 Where dwell you. pretty youth ? — With this shepherdess, my sister; here in the skirts 
 of the forest, like fringe upon a petticoat. — Ibid., iii. .i. 
 
 There is a man haunts the forest, thai abuses our young plants with cari-ing Rosalind 
 on their barks. — Ibid., iii. .s. 
 
 I would cure you, if you would but call me Rosalind, and come every day to my cote. 
 and woo me. — Ibid., iii. 2. 
 
 He attends here on the duke your father. — I met the duke yesterday, and had much 
 question with him. — Ibid., iii. 4. 
 
 Mistress and master, you have oft inquir'd 
 
 After the shepherd that complain'd of love. — Ibid., iii. 4. 
 
142 THE SHAKESPEARE KEY. 
 
 And he hath bought the cottage and the bounds 
 That the old carlot once was master of. — As You L.. iii. 5. 
 0, / have heard him speak of that same brother. — Ibid., iv. 3. 
 We shall find a time, Audrey ; patience, gentle Audrey. — Ibid., v. 1. 
 My lord, the first time that I ever saw him, 
 Methought he was a brother to your daughter. — Ibid., v. 4. 
 
 The Dramatic Time in " The Taming of the Shrew " is so managed 
 as to give the duly brief effect of a play witnessed at a sitting by Kit 
 Sly, the tinker ; who, in the Induction, is brought, drunk and fast 
 asleep, by a nobleman's freak to the luxurious mansion where he is 
 persuaded he is its proprietor, and has a comedy performed to divert 
 him. But while this duly brief effect is given, the no less requisite 
 protracted effect is presented that may allow of the needful space for 
 Petruchio to work the cure of his shrewish bride. Accordingly, the 
 effect of brevity is produced by such touches as the following : — 
 
 I pray, sir, tell me, is it possible 
 
 That love should of a sudden take such hold ? — Tarn, of S., i. i. 
 
 Tranio, at once 
 Uncase thee ; take my colour'd hat and cloak : 
 When Biondello comes, he waits on thee. — Ibid., i. i. 
 I come to wive it wealthily in Padua ; 
 If wealthily, then happily in Padua. — . . . 
 / can, Petruchio, help thee to a wife 
 With wealth enough, and young, and beauteous ; 
 Brought up as best becomes a gentlewoman : 
 Her only fault (and that is faults enough) 
 Is, that she is intolerable curst, 
 And shrewd, and froward ; . . . — 
 Hortensio, peace ! thou know'st not gold's effect : 
 Tell me her father's name, and 'tis enough ; 
 For I will board her, though she chide as loud 
 As thunder. . . . 
 
 / will not sleep, Hortensio, till I see her. — Ibid., i. 2. 
 Now shall my friend Petruchio do me grace ; 
 And offer me, disguis'd in sober robes. 
 To old Baptista as a schoolmaster 
 Well seen in music, to instruct Bianca ; 
 That so I may, by this device, at least 
 Have leave and leisure to make love to her. — Ibid., i. 2. 
 Trow you whither I am going ? To Baptista Minola. 
 I promis'd to inquire carefully 
 About a schoolmaster for the fair Bianca ; 
 And, by good fortune, I have lighted well 
 On this young man ; for learning and behaviour 
 Fit for her turn ; well read in poetry. 
 And other books. — Ibid., i. 2. 
 Please ye we may contrive this afternoon. — Ibid., i. 2. 
 
 I am a gentleman of Verona, sir. 
 
 That — hearing of her beauty and her wit, 
 
 Her affability and bashful modesty. 
 
 Her wondrous qualities and mild behaviour — 
 
 Am bold to show myself a forward guest 
 
 Within your house, to make mine eye the witness 
 
 Of that report which I so oft have heard. — Ibid., ii. i. 
 
 Pardon me, sir, the boldness is mine own ; 
 
 That, being a stranger in this city here, 
 
DRAMATIC TIME. I43 
 
 Do make myself a suitor to your daughter, 
 
 Unto Bianca, fair and virtuous. — Tain, of S., ii. i. 
 
 Sirrah, lead these gentlemen 
 
 To my daughters ; and tell them both. 
 
 These are their tutors : bid them use them well. 
 
 We will go walk a little in the orchard, 
 
 And then to dinner. You are passing welcome, 
 
 And so I pray you all to think yourselves. — 
 
 Signior Baptista, my business asketh haste. 
 
 And every day I cannot come to woo. — Ibid., ii. i. 
 
 Signior Petruchio, will you go with us, 
 
 Or shall I send my daughter Kate to you ? — 
 
 / pray you do ; I will attend her here, 
 
 And woo her with some spirit when she comes. . . . 
 
 If she deny to wed, I HI crave the day 
 
 When I shall ask the banns, and when be married. 
 
 But here she comes ; and now, Petruchio, speak. 
 
 Good-morrow, Kate ; for that 's your name, I hear. — Ibid., ii. i. 
 
 And therefore, setting all this chat aside. 
 
 Thus in plain terms : your father hath consented 
 
 That you shall be my wife ; your dowry Agreed on ; 
 
 And, will you, nill you, I will marry you. . . . 
 
 Here comes your father : never make denial ; 
 
 / must and will have Katharine to my wife. — 
 
 Now, Signior Petruchio, how speed you with my daughter ? — • 
 
 How but well, sir ? how but well ? . . . 
 
 . . . We have 'greed so well together. 
 That upon Sunday is the wedding-day. — Ibid., ii. i. 
 Give me thy hand, Kate: I will unto Venice, 
 To buy apparel 'gainst the wedding-day. 
 Provide the feast, father, and bid the guests ; 
 I will be sure, my Katharine shall be fine. — 
 I know not what to say : but give me your hands ; 
 God send you joy, Petruchio ! 'tis a match. — 
 
 . . . Sunday comes apace : 
 We will have rings, and things, and fine array; 
 And, kiss me, Kate, we will be married o' Sunday. — 
 Was ever match clapp'd up so suddenly ? — Ibid., ii. i. 
 
 But now, Baptista, to your younger daughter : 
 
 Now is the day we long have look'dfor : 
 
 I am your neighbour, and was suitor first. — Ibid., ii. i. 
 
 Fiddler, forbear ; you grow too forward, sir : 
 
 Have you so soon forgot the entertainment 
 
 Her sister Katharine welcom'd you withal ? — 
 
 . . . When in music we have spent an hour. 
 
 Your lecture shall have leisure for as much. — Ibid., iii. i. 
 
 Mistress, your father prays you leave your books, 
 
 And help to dress your sister's chamber up : 
 
 You know, to-morrow is the wedding-dav. — 
 
 Farewell, sweet masters both ; I must be gone. — 
 
 'Faith, mistress, then I have no cause to stay. — Ibid., iii. i. 
 
 Signior Lucentio, this is the 'pointed day 
 
 That Katharine and Petruchio should be married. — Ibid., iii. ^. 
 
 Why, sir, you know this is your wedding-day. — Ibid., iii. 2. 
 
 But where is Kate ? I stay too long from her : 
 
 The morning wears, 'tis time we were at church. . . . 
 
 . . . What a fool am I to chat with you, 
 
 When I should bid good-morrow to my bride, 
 
 And seal the title with a lovely kiss. — Ibid., iii. .;. 
 
144 THE SHAKESPEARE KEY. 
 
 Were it not that my fellow schoolmaster 
 
 Doth watch Bianca's steps so narrowly, 
 
 'Twere good, methinks, to steal our marriage ; 
 
 Which once perform'd let all the world say no, 
 
 I'll keep mine own, despite of all the world. — Tarn, of S., iii. 2. 
 
 That, at the parting, all the church did echo : 
 
 And /, seeing this, came thence for very shame : -r- 
 
 And after me, I know, the rout is coming. 
 
 Such a mad marriage never was before : 
 
 Hark, hark ! I hear the minstrels play. — 
 
 Gentlemen and friends, I thank you for your pains : 
 
 I know you think to dine with me to-day. 
 
 And have prepared great store of wedding cheer ; 
 
 But so it is, my haste doth call me hence. 
 
 And therefore here I mean to take my leave. — 
 
 Is 't possible you will away to-night ? — 
 
 I must away to-day before night come. . . . 
 
 Dine with my father, drink a health to me ; 
 
 For I must hence ; and farewell to you all. — 
 
 Let us entreat you stay till after dinner. — 
 
 It may not be — 
 
 Let me entreat you. — 
 It cannot be. — Ibid., iii. ^. 
 
 But for my bonny Kate, she must n-ith mc. 
 . . . Grumio. 
 Draw forth thy weapon, we 're beset with thieves ; 
 Rescue thy mistress, if thou be a man. 
 Fear not, sweet wench, they shall not touch thee, Kate : 
 I '11 buckler thee against a'million. — 
 Nay, let them go, a couple of quiet ones. — 
 Went they not quickly, I should die with laughing. — Ibid., iii. .;. 
 
 Is my master and his wife coming, Grumio ? — 
 
 O, ay, Curtis, ay ; and therefore fire, fire ; cast on no water . . . the carpets laid, 
 and everything in order? — 
 
 All ready. . . . All things is ready. How near is our master? — E'en at hand, 
 alighted bv this : and therefore be not — Cock's passion, silence ! / hear 7)ty master. — 
 
 Where be these knaves ? What, no man at door, to hold my stirrup, nor to take mv 
 horse ! . . . Go, rascals, go, and fetch my supper in. ... Sit down, Kate, and 
 welcome. — Ibid., iv. i. 
 
 What 's this, mutton ?— 
 
 Ay.- 
 
 Who brought it ? — 
 
 I.— 
 'Tis burnt ; and so is all the meat. 
 ^Vhat dogs are these ! Where is the rascal cook ? 
 How durst you, villains, bring it from the dresser, 
 And serve it thus to mc that love it not ? 
 There, take it to you, trenchers, cups, and all : . . . 
 I tell thee, Kate, 'twas burnt and dried away : . . . 
 And better 'twere, that both of us did fast, 
 Since, of ourselves, ourselves are choleric. 
 Than feed it with such over-roasted flesh. 
 Be patient ; to-morrow 't shall be mended. 
 And, for this night, we '11 fast for company: 
 Come, I will bring thee to thy bridal chamber. — Ibid., iv. i. 
 
 Away, away ! for he is coming hither. — . . , 
 
 She eat no meat to-day, nor none shall eat ; 
 
 Last night she slept not, nor to-night she shall not.— Ibid., iv, i. 
 
DRAMATIC TIME. 145 
 
 Quick proceeders, marry ! Now, tell me, I pray, 
 You that durst swear that your mistress Bianca 
 Lov'd none in the world so well as Lucentio. — Tarn, of S., iv. 2. 
 
 Signior Lucentio, 
 Here is my hand, and here I firmly vow 
 Never to woo her more ; hut do forswear her, . . . — 
 And here I take the like unfeigned oath, 
 Never to marry with her, though she would entreat : . — 
 For me, that I may surely keep mine oath, 
 / will be married to a wealthy widow. 
 Ere three days pass. . . . — Then we are rid of Licio. — 
 r faith, he 'II have a lusty widow now. 
 That shall be woo'd and wedded in a day. — Ibid., iv. .i. 
 Kate, eat apace ; and now, my honey love. 
 Will we return ujito thy father^ s house. . . . 
 What, hast thou din'd ? The tailor stays thy leisure. — Ibid., iv. 3. 
 
 We will hence forthwith 
 To feast and sport us at thy father's house. 
 Go, call my men, and let us straight to him ; 
 And bring our horses unto Long-lane end ; 
 There will we mount, and thither walk on foot. 
 Let's see ; I think 'tis now some seven o'clock. 
 And well we come there by dinner-time. — 
 I dare assure you, sir, 'tis almost two ; 
 And 'twill be supper-time ere you come there. — 
 It shall be seven, ere I go to horse. — Ibid., iv. 3. 
 I told him that your father was at Venice 
 And that you look'dfor him this day in Padua. — 
 Here comes Baptista. . . . 
 Signior Baptista, you are happily met. 
 Sir, this is the gentleman I told you of. . . . 
 My son Lucentio 
 Made me acquainted with a weighty cause 
 Of love between your daughter and himself. . . 
 
 . . . To stay him not too long, 
 I am content, in a good father's care. 
 To have him match'd ; and, if you please to like 
 No worse than I, upon some good agreement, 
 Me shall you find ready and willing 
 With one consent to have her so bestow'd. . . . 
 
 . . . If you say no more than this. 
 That like a father you will deal with him, 
 And pass my daughter a sufficient dower. 
 The match is made, and all is done : 
 
 Your son shall have my daughter with consent. — Ibid., iv. 4. 
 Then at my lodging, an it like you : 
 There doth my father lie ; and there, this night. 
 We '11 pass the business privately and well. 
 Send for your daughter by your servant here; 
 My boy shall fetch the scrivener presently. 
 The worst is this — that, at so slender warning, 
 You 're like to have a thin and slender pittance. — 
 It likes me well. Cambio, hie you home. 
 And bid Bianca make her ready straight; 
 And, if you will, tell what hath happen'd — 
 Lucentio' s father is arriv'd in Padua, 
 And how she 's like to be Lucentio's wife. — 
 I pray the gods she may with all my heart ! — 
 Dally not with the gods, but get thee gone. 
 Signior Baptista, shall I lead the way ? . . . — 
 I follow you. — Ibid., iv. 4. 
 
145 THE SHAKESPEARE KEY. 
 
 His daughter is to be brought by you to the supper.— And then ? — The old priest at 
 St. Lutce is at your command at all hours. — And what of all this ? — I cannot tell ; 
 expect they are busied about a counterfeit assurance : take you assurance of her cum 
 privjlegio ad imprimendura solum; to the ckuich : take the priest, clerk, and some suffi- 
 cient honest witnesses. If this be not what you look for, I have no more to say. . . . I 
 cannot tarry : I knew a wench married in an afternoon as she went to the garden for 
 parsley to stuff a rabbit ; and so may you, sir ; and so, adieu, sir. My master hath 
 appointed me to go to St. Luke's, to bid the priest be ready to come against you come 
 with your appendix. — I may, and will, if she be so contented : ... I'll roundly go 
 about her. — Tam. of S., iv. 4. 
 
 Come on, 0' God's name ; once more toward our father's. — Ibid., iv. 5. 
 Softly and swiftly, sir, for the priest is ready. — / fly, Biondello : but they may 
 chance to need thee at home ; therefore leave us. — Nay, faith, I '11 see the church o' 
 your back ; and then come back to my master as soon as I can. . . . Sir, here 's the door, 
 this is Lucentio's house : my father's bears more toward the market-place ; thither must 
 I. and here I leave you, sir. — Ibid., v. 1. 
 / liave seen them in the church together : God send 'em good shipping ! — Ibid.. \. i. 
 
 Bianca's love 
 
 Made me exchange my state with Tranio, 
 
 While he did bear my countenance in the town ; 
 
 And happily I have arriv'd at the last 
 
 Unto the wished haven of my bliss. — Ibid., v. i. 
 
 My fair Bianca, bid my father welcome. 
 
 While I with self-same kindness welcome thine. 
 
 Brother Petruchio, sister Katharina — 
 
 And thou Hortensio, with thy loving widow — 
 
 Feast with the best, and welcome to my house. — Ibid., \. 2. 
 
 Now fair befall thee, good Petruchio ! 
 
 The wager thou hast won ; and I will add 
 
 Unto their losses twenty-thousand crowns ; 
 
 Another dowry to another daughter. 
 
 For she is chang'd, as she had never been. — Ibid., v. 2. 
 
 Come, Kate, we 'II to bed. 
 
 We three are married, but you two are sped. 
 
 'Twas I won the wager, though you hit the white ; 
 
 And, being a winner, God give you good night. — Ibid., v. 2. 
 
 While, on the contrary, the effect of prolongation is produced bv 
 such touches as those that follow : — 
 
 Here let us breathe, and haply institute 
 A course of learning and ingenious studies. 
 . . . for the time I study. 
 Virtue, and that part of philosophy 
 Will I apply, that treats of happiness 
 By virtue specially to be achiev'd. 
 Tell me thy mind ; for I have Pisa left. 
 And am to Padua come, as he that leaves 
 A shallow plash, to plunge him in the deep. 
 And with satiety seeks to quench his thirst. — Ibid., i. i. 
 If Biondello now were come ashore, 
 We could at once put us in readiness ; 
 And take a lodging fit to entertain 
 Such friends as time in Padua shall beget. — Ibid., i. i. 
 
 For who shall bear your part 
 And be in Padua here Vincentio's son ; 
 Keep house, and ply his book ; welcome his friends ; 
 Visit his countrymen, and banquet them ? — . . . 
 Thou shalt be master, Tranio, in my stead. 
 Keep house, and port, and servants, as I should. — Ibid., i. i. 
 
DRAMATIC TIME. I47 
 
 On Sunday next, you know, 
 My daughter Katharine is to be married : 
 Now. on the Sunday follomng, shall Bianca 
 Be bride to you, if you make this assurance. — Tam. of S., ii. i- 
 Travel you far on, or are you at the farthest ? — 
 Sir. at the farthest /or a week or two : 
 But then up farther, and as far as Rome, 
 And so to Tripoli, if God lend me life. — Ibid., iv. 2. 
 And in my house you shall be friendly lodged : 
 
 . . . So shall you stay 
 Till you have done your business in the city : . . . 
 My father is here look'dfor every day. 
 To pass assurance of a dower in marriage 
 'Twixt me and one Baptista's daughter here. — Ibid., iv. 2. 
 But I, who never knew how to entreat, 
 Am starved for meat, giddy for lack of sleep ; 
 With oaths kept waking, and with brawling fed. — Ibid., iv. 3. 
 Tailor, I'll pay thee for thy gown to-morrow — Ibid., iv. 3. 
 
 Sirs, let 't alone, 
 / will not go to-day ; and ere I do, 
 It shall be what o'clock I say it is. — Ibid., iv. 3. 
 At last, though long, our jarring notes agree. — Ibid., v. ^. 
 
 In " All's Well that Ends Well" Shakespeare had to reconcile the 
 concentrated space of time fit for a drama with the protracted space of 
 time demanded by the exigencies of the story ; and he has done this 
 through the medium of alternately introduced intimations of speedily 
 current time and of long lapses of time. The former far surpass the 
 latter in number ; giving such admirably accelerating effect to the 
 passage of time, that insensibly we glide over each successive period, 
 and they all melt into distance as things gone by while we feel but the 
 force of present and actual moments. First for the accelerating 
 intimations, which induce the belief in speedily current and actual 
 time : — 
 
 In delivering my son from me, I bury a second husband. — 
 
 And I, in going, madam, weep o'er my father's death anew: but I must attend his 
 majesty's command. — AlVs W., i. 1. 
 
 'Twas pretty, though a plague, 
 To see him every hour : . . . 
 But now he 's gone, and my idolatrous fancy 
 Must sanctify his relics. Who comes here ? 
 One that goes with him. — Ibid., i. i. 
 The king's disease — my project may deceive me. 
 But my intents arefix'd, and will not leave me. — Ibid., i. i. 
 
 What 's he comes here ? — 
 It is the Count Rousillon, my good lord, 
 Young Bertram. . . . Welcome, count ; 
 My son 's no dearer. — 
 
 Thank your majesty. — Ibid., i. -z. 
 Madam, I was very late more near her than, I think, she wished me: alone she was. 
 and did communicate to herself, her own words to her own ears ; she thought, I dare 
 vow for her, they touched not any stranger sense. Her matter was, she loved your 
 son : . . . this she delivered in the most bitter touch of sorrow, that e'er I heard viro-in 
 exclaim in : which I held my duty speedily to acquaint you withal. — Ibid., i. 3. 
 Had you not lately an intent, speak truly, to go to Paris? — 
 Madam, / had. — Ibid., i. 3. 
 
 L 2 
 
THE SHAKESPEARE KEY. 
 
 Would your honour 
 But give me leave to try success, I 'd venture 
 The well-lost life of mine on his grace's cure, 
 Bv such a day and hour. — , . . 
 Why, Helen, thou shalt have my leave, and love, 
 Means, and attendants, and my loving greetings 
 To those of mine in court : . . . 
 Be gone to-morrow. — AlVs W., i. 3. 
 
 What her is this ?— 
 Why, Doctor She ; my lord, there 's one arriv'd 
 If you vifill see her. — Ibid., ii. i. 
 And. hearing your high majesty is touch'd 
 With that malignant cause, wherein the honour 
 Of my dear father's gift stands chief in power, 
 / come to tender it. — Ibid., ii. i. 
 Art thou so confident ? Within what space 
 Hop'st thou my cure ? — 
 
 The greatest grace lending grace. 
 Ere twice the horses of the sun shall bring 
 Their fiery torcher his diurnal ring ; 
 Ere twice in murk and occidental damp 
 Moist Hesperus hath quenched his sleepy lamp ; 
 Or four and twenty times the pilot's glass 
 Hath told the thievish minutes how they pass ; 
 What is infirm from your sound parts shall fiy, 
 Health shall live free, and sickness freely die. — Ibid., ii. i. 
 Sweet practiser, thy physic I will try. 
 That ministers thine own death, if I die. — 
 If I break time, or flinch in property 
 Of what I spoke, unpitied let me die. — Ibid., ii. 1. 
 I know my business is but to the court. — . . . 
 An end, sir : to your business. Give Helen this. 
 And urge her to a present answer back. . . . 
 I am there before my legs. — Haste you again. — Ibid., ii. 2. 
 Here comes the king. — Lustick, rs the Dutchman says: I 'II like a maid the better 
 whilst I have a tooth in my head : why, he is able to lead her a coranto. — ■ . . . 
 Go, call before me all the lords in court. 
 Sit, my preserver, by thy patient's side ; 
 And with this healthful hand, whose banish'd sense 
 Thou hast repeaVd, a second time receive 
 The confirm of my promis'd gift. — Ibid., ii. 3. 
 I dare not say, I take you ; but / give 
 Me, and my service, ever whilst I live, 
 Into your guiding power. This is the man. — 
 Why, then, young Bertram, take her; she's thy wife. — Ibid,, ii. 3. 
 
 Take her by the hand. 
 And tell her she is thine : to whom I promise 
 A counterpoise ; if not to thy estate, 
 A balance more replete. — 
 
 I take her hand. — 
 Good fortune, and the favour of the king. 
 Smile upon this contract ; whose ceremony 
 Shall seem expedient on the now-born brief. 
 And be perform' d to-night. — Ibid., ii. 3. 
 O my Parolles, they have married me ! — Ibid., ii. 3. 
 To the war ! — 
 
 It shall be so : I 'II send her to my house. 
 Acquaint my mother with my hate to her. 
 And wherefore I ainfied; write to the king 
 
DRAMATIC TIME. 149 
 
 That which I durst not speak : his present gift 
 
 Shall fiirmsh me to those Italian fields 
 
 Where noble fellows strike : . . 
 
 Go with me to my chamber, and advise me. 
 
 I'll send her straight away ; to-morrow 
 
 I 'II to the -Li'ars^ she to her single sorrow, — , , . 
 
 Therefore away, and leave her ; bravely go. — All's W., ii. 3. 
 
 Madam, my lord will go away to-night ; — • 
 
 . . . What 's his will else ? — 
 That you will take your instant leave 0' the king., 
 And make this haste as your own good proceeding, . . . 
 That having this obtained., you presently 
 Attend his farther pleasure. — Ibid., ii. 4. 
 Is she gone to the king ? — She is. — Will she away to-night ? — As you 'II have her. 
 I have writ my letters, casketed my treasure. 
 Given order for our horses ; and to-night. 
 When I should take possession of the bride, 
 End ere I do begin. — Ibid., ii. 5. 
 / have, sir, as I was commanded from you, 
 Spoke with the king, and have procur'd his leave 
 For present parting ; . . . — This drives me to entreat you. 
 That presently you take your way for home ; . 
 My haste is very great : farewell ; hie home. . . . 
 / pray you, stay not, but in haste to horse. — 
 I shall not break your bidding, good my lord. — . . . 
 Away I and for our flight. — Ibid., ii. 5. 
 
 You know your places well ; 
 When better fall, for your avails they fell : 
 To-morrow to the field. — Ibid., iii. i. 
 
 Towards Florence is he ? — 
 Ay, madam. — 
 
 And to be a soldier ? — 
 Such is his noble purpose . . . — 
 
 . . . Return you thither ? — 
 Ay, madam, with the swiftest wing of speed. — Ibid., iii. 2. 
 
 / will be gone ; 
 My being here it is that holds thee hence : 
 Shall I stay here to do 't ? no, no, although 
 The air of paradise did fan the house. 
 And angels oific'd all : / will be gone. 
 That pitiful rumour may report my fiight. 
 To consolate thine ear. Come, night ; end, day ! 
 For with the dark, poor thief, / 'II steal away. — Ibid., iii. /.. 
 
 This very day, 
 Great Mars, I put myself into thy file. — Ibid., iii. 3. 
 If I had given you this at overnight. 
 She might have been o'erta'en ; and yet she writes. 
 Pursuit would be but vain. — 
 
 . . . Write, write, Rinaldo, 
 To this unworthy husband of his wife ; . . . 
 Despatch the most convenient messenger : 
 When, haply, he shall hear that she is gone. 
 He will return ; and hope I may, that she, 
 Hearing so much, will speed her foot again, 
 Led hither by pure love. — Ibid., iii. 4. 
 
 The troop is past. Come, pilgrim, I will bring you 
 Where you shall host ; of enjoin'd penitents 
 There 's four or five, to great Saint Jaques bound, 
 Already at my house. — 
 
150 THE SHAKESPEARE KEY. 
 
 I humbly thank you ; 
 Please it this matron and this gentle maid 
 To cat with us to-night, the charge and thanking 
 Shall be for me. . . . 
 
 . . . We 'II take your offer kindly. — All's W., iii. 5. 
 By the hand of a soldier I v:iU undertake it. — But you must not now slumber in it. — 
 I 'II about it this evening : and / will presently pen down my dilemmas, encourage 
 myself in my certainty, put myself into my mortal preparation ; and, by midnight, 
 look to hear farther from me. — Ibid., iii. 6. 
 
 We have almost embossed him; — you shall see his fall to-night; . . . when his 
 disguise and he is parted, tell me what a sprat you shall find him ; which you shall sec 
 this very night. . . . — Now will I lead you to the house, and show you the lass I spoke 
 of. — Ibid., iii. 6. 
 
 Why, then, to-night 
 Let us assay our plot ; , . . 
 But let 's about it. — Ibid., iii. 7. 
 But couch, ho ! here he comes, to beguile two hours in a sleep, and then to return and 
 swear the lies he forges. — Ten o'clock : within these three hours 'twill be time enowh 
 to go home. — Ibid., iv. i. 
 
 Go, tell the Count Rousillon, and my brother. 
 We have caught the woodcock, and will keep him muffled 
 Till we do hear from them. — Ibid., iv. i. 
 When midnight comes, knock at my chamber-window : . . . 
 When you have conquer'd my yet maiden bed. 
 Remain there but an hour, nor speak to me : 
 My reasons are most strong. . . . 
 And on your finger, in the night, I '11 put 
 Another ring. — Ibid., iv. ^. 
 You have not given him his mother's letter ? — I have deliver'd it an hour since. . . . 
 He hath perverted a young gentlewoman here in Florence, of a most chaste renown ; 
 and this night he fleshes his will in the spoil of her honour. . . . We shall not then 
 have his company to-night ? — Not till after midnight ; for he is dieted to his hour. — • 
 That approaches apace. — Ibid., iv. 3. 
 
 Where 's your master ? — He met the duke in the street, sir, of whom he hath taken 
 a solemn leave : his lordship will next morning for France. — Ibid., iv. 3. 
 
 How now, my lord ! is 't not after midnight.' — I have to-night despatch' d sixteen 
 businesses, a month's length a-piece, by an abstract of success : I have conge'd with the 
 duke, done my adieu with his nearest ; buried a wife, mourned for her ; writ to mv 
 lady mother / am returning; entertained my convoy; and between these main parcels 
 of despatch, effected many nicer needs : the last was the greatest, but that I have not 
 ended yet. — If the business be of any difficulty, and this morning your departure hence, 
 it requires haste of your lordship. — I mean, the business is not ended, as fearing to 
 hear of it hereafter. But shall we have this dialogue between the fool and the 
 soldier? Come, bring forth this counterfeit model. . . . — Bring him forth : he has sat 
 i' the stocks all night. — Ibid., iv. 3. 
 
 So, look about you : know you any here ? — Good-morrow, noble captain. . . 
 Captain, what greeting will you to my lord Lafeu ? / am for France. . . . Fare you 
 well, sir; / am for France too : we shall speak of you there. — . . . I'll after them.— 
 Ibid., iv. 3. 
 
 His grace is at Marseilles ; to which place 
 
 We have convenient convoy. You must know, 
 
 I am supposed dead : the army breaking, 
 
 My husband hies him home ; where, heaven aiding, 
 
 And by the leave of my good lord the king. 
 
 We 'II be before our welcome. — Ibid., iv. 4. 
 
 But with the word, the time will bring on summer, 
 
 When briers shall have leaves as well as thorns. 
 
 And be as sweet as sharp. We must awav ; 
 
 Our waggon is prcpar'd, and time revives us. — Ibid., iv. 4. 
 
DRAMATIC TIME. 
 
 Your daughter-in-law had been alive at this hour and your son here at home. — 
 AlVs W., iv. 5. 
 
 And I was about to tell you, since I heard of the good lady's death, and that my lord. 
 your son, was upon his return home, I moved the king, my master, to speak in the 
 behalfof my daughter; . . . How does your ladyship like it ? — With very much content, 
 my lord ; and I wish it happily effected. — His highness comes post from Marseilles, of 
 as able body as when he numbered thirty : he will be here to-morrow. . . . — It rejoices 
 me, that I hope I shall see him ere I die. I have letters that my son :eill be here 
 to-night : I shall beseech your lordship to remain with me till they meet together. . 
 O madam, yonder 's my lord your son. . . . Let us go see your son, I pray you : I long to 
 talk with the young noble soldier. — Ibid., iv. 5. 
 
 But this exceeding posting, day and night. 
 Must wear your spirits low ; we cannot help it : 
 But since you have made the days and nights as one. 
 To wear your gentle limbs in my affairs, 
 Be bold you do so grow in my requital. 
 As nothing can unroot you. In happy time. 
 This man may help me to his majesty's ear. 
 
 ... I do beseech you, sir, 
 Since yon are like to see the king before me, 
 Commend the paper to his gracious hand, . . . 
 / will come after you, with what good speed 
 Our means will make us means. — 
 
 This I '11 do for you. — 
 And you shall find yourself to be well thank'd, 
 Whate'er falls more. We must to horse again ; 
 Go, go, provide. — Ibid., v. i. 
 
 The king's coming ; I know by his trumpets. Sirrah, inquire farther after me; I had 
 talk of you last night.— Ibid., v. 2. 
 
 We lost a jewel of her; and our esteem 
 Was made much poorer by it : but your son, 
 As mad in folly, lack'd the sense to know 
 Her estimation home. — 
 
 'Tis past, my liege ; 
 And I beseech your majesty to make it 
 Natural rebellion, done i' the blaze of youth : . . . 
 
 . . . Well, call him hither ; 
 We are reconcil'd, and the first view shallkiU 
 All repetition. — Ibid., v. 3. 
 Not one word more of the consumed time. 
 Let 's take the instant by the forward top ; 
 For we are old, and on our quick'st decrees 
 Th' inaudible and noiseless foot of time 
 Steals ere we can effect them. — Ibid., v. 3. 
 Send forth your amorous token for fair Maudlin : 
 The main consents are had ; and here we "11 stay 
 To see our widower's second marriage-day. — Ibid., v. 3. 
 
 His name 's Parolles. — 
 / saw the man to-day, if man he be. — 
 Find him, and bring liim hither. — Ibid., v. 3. 
 To prison with her: and away with him. 
 Unless thou tell'st me where thou hadst this ring, 
 Thou diest within this hour. — Ibid., v. 3. 
 
 Next, for the protractive intimations : — 
 
 Little Helen, farewell : if I can remember thee, I will think of thee at court . . 
 farewell. When thou hast leisure, say thy prayers; when thou hast done, remeinber 
 thy friends : get thee a good husband, and use him as he uses thee : so. farewell. — 
 Ibid., i. I. 
 
152 THE SHAKESPEARE KEY. 
 
 'Tis our hope, sir, 
 
 After well-enter'd soldiers, to return 
 
 And find your grace in health. — 
 
 No, no, it cannot be ; and yet my heart 
 
 Will not confess he owes the malady 
 
 That doth my life besiege. Farewell, young lords ; 
 
 Whether I live or die, be you the sons 
 
 Of worthy Frenchmen. — AlVs IV., ii, i. 
 
 'Twill be two days ere I shall see you : so, 
 
 I leave you to your wisdom. — Ibid., ii. 5. 
 
 Go thou toward home ; where I will never conic. 
 
 Whilst I can shake my sword, or hear the drum. — Ibid., ii. 5. 
 
 But I am sure, the younger of our nature. 
 
 That surfeit on their ease, will day by day 
 
 Come here for physic. — 
 
 Welcome shall they be. — Ibid., iii. i. 
 Let VIC sec what he writes, and when he means to come. — Ibid., iii. 2. 
 Where is my son, I pray you ? 
 
 Madam, he 's gone to serve the Duke of Florence : 
 
 We met him thitherward ; for thence we came, 
 
 .\nd. after some despatch in hand at court. 
 
 Thither we bend again. — Ibid,, iii. 2, 
 
 You are welcome, gentlemen. 
 
 I will entreat you, when you see my son. 
 
 To tell him that his sword can never win 
 
 The honour that he loses. — Ibid.^ iii. 2. 
 
 Every night he comes 
 
 With musics of all sorts, and songs compos'd 
 
 To her unworthiness : it nothing steads us. 
 
 To chide him from our eaves ; for lie persists. 
 
 As if his life lay on 't. — Ibid., iii. 7. 
 Sir, his wife, some two months since fled from his house : her pretence is a pilgrimage 
 to Saint jfaques Ic Grand ; which holy undertaking, i^ith most austere sanctimony, she 
 accomplished ; and, there residing, the tenderness of her nature became as a prey to her 
 grief; in fine, made a groan of her last breath;, and now she sings in heaven. — 
 Ibid., iv. 3. 
 
 One of the greatest in the Christian world 
 
 Shall be my surety ; . . . 
 
 Time was I did him a desired office. 
 
 Dear almost as his life. — Ibid., iv. 4. 
 
 In " Twelfth Night" Shakespeare has contrived to give the requisite 
 effect of the due Hmits within which a drama should be preserved, 
 together with the effect of sufficient space for the events of the stor)- 
 to take place naturally, by manifold touches of Short Time and a few 
 touches of Long Time. The manifold touches of Short Time are 
 these : — 
 
 Who governs here ? — 
 
 A noble duke, in nature 
 As in name. — 
 
 What is his name ? — 
 
 Orsino. — 
 Orsino ! I have heard my father name him : 
 He was a bachelor then. — 
 And so is now, or was so very late ; . . . 
 
 . . . I'll serve this duke : 
 Thou shall present me . . . 
 
 ... I thank thee : lead mc on. — Tw. A'., i. 2. 
 
DRAMATIC TIME. i53 
 
 Cesario, 
 Thou know'st no less but all ; I have unclasp'd 
 To thee the book even of my secret soul : 
 Therefore, good youth, address thy gait unto her ; 
 Be not denied access, stand at her doors. 
 And tell them, there thy fixed foot shall grow 
 Till thou have audience. — . . . 
 Say I do speak with her, my lord, what then ? — 
 
 then unfold the passion of my love. . . . 
 
 . . . I HI do my best 
 To woo your lady. — Tw. N., i. 4. 
 Madam, there is at the gate a young gentleman much desires to speak with you. . . . 
 Who of my people hold him in delay ?— Sir Toby, madam, your kinsman.— Fetch him 
 off, I pray you. ... By mine honour, half drunk. . . . Cousin, cousin, how have you 
 come so early by this lethargy ? — . . . Madam, yond' young fellow smears he ti'dl 
 speak with you. . . Let him approach . . . give me my veil : come, throw it o er my 
 face. We'll once more hear Orsino's embassy. — Ibid., i. 5. 
 
 I heard you were saucy at my gates ; and allowed your approach, rather to wonder 
 at you than to hear you. If you be not mad, Je g-oHe; if you have reason, ii; 6m/; . . . 
 Will you hoist sail, sir ? here lies your way. — No, good swabber ; I am to hull here 
 a little longer. — Ibid., i. 5. 
 
 Get you to your lord ; 
 
 1 cannot love him : let him send no more ; 
 Unless, perchance, you come to me again. 
 To tell me how he takes it. Fare you well : 
 
 . . . Farewell, fair cruelty. — Ibid., i. 5. 
 . . . Not too fast: soft, soft! 
 Unless the master were the man. How now ! 
 Even-so quickly may one catch the plagite ? 
 Methinks I feel this youth's perfections, 
 With an invisible and subtle stealth. 
 To creep in at mine eyes.- — Ibid., i. 5. 
 Run after that same peevish messenger. 
 The county's man : he left this ring behind him. 
 Would I, or not: tell him I '11 none of it. 
 Desire him not to flatter with his lord, 
 Nor hold him up with hopes ; I am not for him : 
 If that the youth will come this way to-morrow, 
 I '11 give him reasons for 't. Hie, thee, Malvolio. — Ibid., i. 5. 
 Will you stay no longer ? nor will you not that I go with you ? — By your patience, 
 no. . . . Fare ye well at once : . . . I am bound to the Count Orsino's court : farewell. — 
 The gentleness of all the gods go with thee ! 
 I have many enemies in Orsino's court, 
 Else would I very shortly see thee there : 
 But, come what may, I do adore thee so. 
 That danger shall seem sport, and I will go. — Ibid., ii. i. 
 Were not you even now with the Countess Olivia ? — Even now, sir ; on a moderate 
 pace I have since arrived but hither. — Ibid., ii. 2. 
 
 Approach, Sir Andrew : not to be a-bed after midnight is to be up betimes ; and 
 diluculo surgere, thou know'st, — . . . to be up after midnight, and to go to bed then, is 
 early : so that, to go to bed after midnight, is to go to bed betimes.. — Ibid., ii. 3. 
 
 Shall we rouse the night-owl in a catch that will draw three souls out of one weaver ? 
 . . . — What a caterwauling do you keep here ! If my lady have not called up her 
 steward, Malvolio, and bid him turn you out of doors, never trust me. . . . — My masters, 
 are you mad ? or what are you ? Have you no wit, manners, nor honesty, but to 
 gabble like tinkers at this time of night ? — Ibid., ii. 3. 
 
 Sweet Sir Toby, be patient for to-night : since the youth of the count's was to-day 
 with my lady, she is much out of quiet. For Monsieur Malvolio, let me alone with 
 him : if I do not gull him into a nayword, and make him a common recreation, do 
 
154 THE SHAKESPEARE KEY. 
 
 not think I have wit enough to lie straight in my bed : . . For this night, to bed, and 
 dream on the event. Farewell. — Good-night, Penthesilea. . . . Come, come ; I '11 go 
 burn some sack, 'tis too late to go to bed now : come, knight ; come, knight. — 
 Tw. N., ii. 3. 
 
 Give me some music ; now, good-morrow, friends : 
 Now, good Cesario, but that piece of song, 
 That old and antique song, we heard last night ; . . . 
 He is not here, so please your lordship, that should sing it. — Who was it? — Feste, 
 the jester, my lord ; a fool that the lady Olivia's father took much delight in ; he is 
 about the house. — Seek him out: and play the tune the while. ... 0, fellow, come, the 
 song we had last night. . . . Are you ready, sir? — Ay, pr'ythcc. sing. — Ibid., ii. 4. 
 
 Once more, Cesario, 
 Get thee to yond' same sovereign cruelty : 
 Tell her, my love, more noble than the world. 
 Prizes not quantity of dirty lands. . . . — 
 Sir, shall I to this lady ? — 
 
 Ay, that 's the theme. 
 To her in haste ; give her this jewel ; say, 
 My love can give no place, bide no denay. — Ibid., ii. 4. 
 
 Get ye all three into the box-tree: Malvolio's coming down this walk : he has been 
 yonder i' the sun, practising behaviour to his own shadow this half-hour. — Ibid., ii. 5. 
 
 / saw thee late at the Count Orsino's, — Ibid., iii. i. 
 
 You 're servant to the Count Orsino, youth. . . .. — Madam, / come to tvhet your gentle 
 thoughts on his behalf. — Ibid-, iii. i. 
 
 The clock upbraids me with the waste of time. . . . 
 
 There lies your way, due west. . . . 
 
 Yet come again ; for thou perhaps may'st move 
 
 That heart, which now abhors, to like his love. — Ibid., iii. i. 
 
 Challenge me the count's youth to fight with him; . . . — Will either of you bear me 
 a challenge to him? — Go, write it in a martial hand. . . . Go, about it. . . . About 
 it. — Ibid., iii. z. 
 
 Look, where the youngest wren of nine comes. — If you desire the spleen, and will 
 laugh yourselves into stitches, /o/Zoia me. Yond' gull Malvolio is turned heathen, a 
 very renegado ; for there is no Christian, that means to be saved by believing rightly, 
 can ever believe such impossible passages of grossness. He 's in yellow stockings. — 
 And cross-gartered ? — Most villainously. . . . Come, bring us, bring us where he is. — 
 Ibid., iii. 2. 
 
 I could not stay behind you : my desire. 
 
 More sharp than filed steel, did spur me forth ; . . , — 
 
 Shall we go sec the reliques of this town ? — 
 
 To-morrow, sir; best first go see your lodging. — 
 
 I am not weary, and 'tis Jong to night : 
 
 I pray you, let us satisfy our eyes 
 
 With the memorials and the things of fame 
 
 That do renown this city. . . . — ■ 
 
 It doth not fit me. Hold, sir, here 's my purse. 
 
 In the south suburbs, at the Elephant, 
 
 Is best to lodge : / will bespeak our diet. 
 
 Whiles you beguile the time and feed your knowledge 
 
 With viewing of the town ; , . . — 
 
 I '11 be your purse-bearer, and leave you for an hour. — Ibid., iii. 3. 
 
 I have sent after him : he says he 'II come : 
 How shall I feast him ? What bestow of him ? . . . 
 Madam, the young gentleman of the Count Orsino' s is returned : I could hardly entreat 
 him back: he attends your ladyship's pleasure. — I'll come to him. — Ibid., iii. 4. 
 
 Come, we 'II have him in a dark room, and bound. My niece is already in the belief 
 that he 's mad. — Ibid., iii. 4. 
 
DRAMATIC TIME. 155 
 
 Here 's the challenge, read it ; . . . — If this letter move him not, his legs cannot : I 'II 
 give 't him. — You may have very fit occasion for 't ; he is now in some commerce with 
 my lady, and will by-and-by depart. — Go, Sir Andrew ; scout me for him at ike corner 
 of the orchard, like a bum-bailie : so soon as ever thou seest him, draw ; and. as thou 
 drawest, swear horrible ; . . . Away! . . . — Here he comes vrith youi niece : give them 
 way, till he take leave, a.nd presently after him. — Tw. N., iii. 4. 
 
 That defence thou hast, betake thee to 't ; . . . dismount thy tuck ; be yare in thy 
 preparation, for thy assailant is quick, skilful, and deadly. — Ibid., iii. 4. 
 
 Siguier Fabian, stay you by this gentleman till my rett^rn. . . . — Will you walk 
 towards him ? I will make your peace with him, if I can. — Ibid., iii. 4. 
 
 Nay, I pr'ythee, put on this gown and this beard ; make him believe thou art Sir 
 Topas, the curate : do it quickly ; I '11 call Sir Toby the whilst. . . . — To him. Sir 
 Topas. — What ho ! I say, peace in this prison ! . . . — Who calls there ? — Sir Topas, 
 the curate, who comes to visit Malvolio the lunatic. — Ibid., iv. 2. 
 
 I would we were well rid of this knavery. If he may be conveniently delivered, I 
 would he were, . . . Come by-and-by to my chamber. — Ibid., iv. 2. 
 
 Good fool, some ink, paper, and light ; and convey what I will set down to my lady : 
 it shall advantage thee more than ever the bearing of letter did. — I will help you 
 to't . . . I pry thee, be gone. — I am gone, sir ; and-anon, sir, IHl be with you again, in 
 a trice. — Ibid., iv. 2. 
 
 Where 's Antonio, then ? 
 / could not find him at the Elephant: 
 Yet there he was, and there I found this credit. 
 That he did range the town to seek me out. 
 His counsel now might do me golden service. — Ibid., iv. 3. 
 
 But here the lady comes. — 
 Blame not this haste of mine. If you mean well, 
 A'ow go with me and with this holy man 
 Into the chantry by : there, before him. 
 And underneath that consecrated roof. 
 Plight me the full assurance of your faith ; 
 That my most jealous and too doubtful soul 
 May live at peace : he shall conceal it, 
 Whiles you are willing it shall come to note, 
 What time we will our celebration keep, 
 According to my birth. What do you say ? — 
 I '11 follow this good man, and go with you ; 
 And, having sworn truth, ever will be true. — 
 Then lead the way, good f<ither. — Ibid., iv. 3. 
 
 If you will let your lady know I am here to speak with her, and bring her along with 
 you, it may awake my bounty farther. — Marry, sir, lullaby to your bounty till I cotne 
 again. I go, sir ... let your bounty take a nap, / will awake it anon.— Here comes 
 the man, sir, that did rescue me. — Ibid., v. i. 
 
 Denied me mine own purse, 
 Which I had recommended to his use 
 Not half an hour before. — 
 
 How can this be ? — 
 When came he to this town ? — To-day, my lord. — Ibid., ^ . 1. 
 Hast thou forgot thyself? Is it so long ? 
 Call forth the holy father. . . . 
 
 . . . O, welcome, father ! 
 Father, I charge thee, by thy reverence. 
 Here to unfold (though lately we intended 
 To keep in darkness, what occasion now 
 Reveals before 'tis ripe) what thou dost know 
 Hath newly pass'd between this youth and me. — 
 A contract of eternal bond of love, 
 Confirm'd by mutual joinder of your hands. 
 
156 THE SHAKESPEARE KEY. 
 
 Attested by the holy close of lips, 
 
 Strengthen'd by interchangement of your rings ; 
 
 And all the ceremony of this compact 
 
 Seal'd in my function, by my testimony: 
 
 Since when^ my watch hath told me, toward my grave 
 
 I have travclVd but two hours.— Tw. N., v. i. 
 He has hurt me, and there's the end on 't. Sot, didst see Dick surgeon, sot ? — 0, 
 he's drunk. Sir Toby, an hour agone ; his eyes were set at eight i' the morning. — 
 Ibid., V. I. 
 
 Pardon me, sweet one, even for the vows 
 
 We made each other but so late ago. — Ibid., v. i. 
 
 Antonio ! O, my dear Antonio ! 
 
 How have the hours rack'd and tortur'd me, 
 
 Since I have lost thee! — Ibid., v. i. 
 Fetch Malvolio hither: . . . how does he, sirrah ? — Truly, madam, he holds Belzebub 
 at the stave's end, as well as a man in his case may do : he has here ivrit a letter to you ; 
 I should have given it you to-day morning ; but as a madman's epistles are no gospels, 
 so it skills not much when they are delivered. — Ibid., v. i. 
 
 My lord, so please you, these things farther thought on. 
 
 To think me as well a sister as a wife, 
 
 One day shall crown the alliance on 't, so please you, 
 
 Here at my house, and at my proper cost. — 
 
 Madam, I am most apt t' embrace your offer. — Ibid., v. i. 
 Good madam, hear me speak ; 
 
 And let no quarrel, nor no brawl to come, 
 
 Taint the condition of this present hour. 
 
 Which I have wonder'd at. — Ibid., v. i. 
 
 The few touches of Long Time are these : — 
 
 Sir Toby, you must come in earlier o' nights: your cousin, my lady, takes great 
 exceptions to your ill hours. . . . That quaffing and drinking will undo you : / heard 
 my lady talk of it yesterday ; and of a foolish knight, that you brought in one night here 
 to be her wooer. — Ibid., i. 3. 
 
 / 'H ride home to-morrow. Sir Toby . . . 'Faith, / '// home to-morrow. Sir Toby : your 
 niece will not be seen ; or, if she be, it 's four tO' one she '11 none of me : the count 
 himself, here hard by, woos her. — She '11 none o' the count. . . . Tut, there 's life in 't, 
 man. — /'// stay a month longer. — Ibid., i. 3. 
 
 If the duke continue these favours towards you, Cesario, you are like to be much 
 advanced : he hath known you but three days, and already you are no stranger.^ 
 Jbid., i. 4. 
 
 time thou must untangle this, not I ; 
 
 It is too hard a knot for me t' untie ! — Ibid., ii. 2. 
 
 Thou wast in very gracious fooling last night. — Ibid., ii. 3. 
 
 I did send. 
 After the last enchantment you did here, 
 A ring in chase of you. — Ibid., iii. i. 
 With the same 'haviour that your passion bears. 
 Go on my master's griefs. . . . 
 ... I beseech you, come again to-morrow . . . 
 Well, come again to-morroio. — Ibid., iii. 4. 
 When came he to this town ? 
 To-day, my lord; and/oj" three months before 
 (No interim, not a minute's vacancy) 
 Both day and night did we keep company. 
 
 . . . Fellow, thy words are madness : 
 Three months this youth hath tended upon me. — Ibid., v. i. 
 
 1 '11 bring you to a captain in this town. 
 
 Where lie my maiden weeds ; by whose gentle help 
 
DRAMATIC TIME. 157 
 
 I was preserv'd, to serve this noble count. 
 
 A II the occurrence of my fortune since 
 
 Hath been between this lady and this lord. . . . — 
 
 Boy, thou hast said to me a thousand times, 
 
 Thou never shouldst love woman like to me. . . . — 
 
 The captain that did bring me first on shore 
 
 Hath my maid's garments ; he upon some action 
 
 Is now in durance, at Malvolio's suit. — Tw. N,, v. i. 
 
 In "King John," as in all Shakespeare's historical dramas, the 
 author had to indicate a long period of action so managed as to appear 
 but the brief summary which "may" (to use his own words) "be 
 digested in a play" : and he accordingly gives a profusion of denote- 
 ments of rapidly passing and actually current time, while he sparingly 
 inserts such reminders of longer lapses of time as are absolutely need- 
 ful for historical event. The imagination of those who witness or read 
 his chronicle plays is held spell-bound ; accepting with perfect good 
 faith the illusory and double Dramatic Time which the dramatist 
 conjures up by his " so potent " art. 
 
 The detailed instances (amounting to nearly two thousand) in 
 Shakespeare's English historical plays were originally written out by 
 us ; but on due consideration, for the sake of condensity, we have 
 cancelled the portion of manuscript containing them ; contenting our- 
 selves with merely calling our readers' notice to the mode in which 
 the Dramatic Time is managed in the " Third Part of King Henry VI., 
 forming one of the many internal evidences (to our mind) that it 
 contains proving it to be almost, if not entirely, the work of Shake- 
 speare's own hand. Not only are the indications of Short Time more 
 numerous than those of Long Time ; but even these latter are touched 
 by such concomitant hints of hurried action that the effect of brevity 
 and compression are subtly conveyed, in just the requisite manner to 
 condense the various alternations of fortune and vicissitudes of success 
 that occurred during the tragical period known as " the wars of the 
 Roses " in English history into the apparent space befitting a five-act 
 drama. Traceable throughout is that skill by which illusory speed 
 and real slowness, illusory length and real haste, are so blended as to 
 produce upon the imagination of the reader or spectator an acquiescence 
 in the veritableness of the represented Dramatic Time. Also, we take 
 occasion to point out the artistic manner in which Dramatic Time 
 is conducted throughout the long third scene in the fifth act of 
 "King Richard III."; which commences with allusion to the setting 
 sun, goes on with sequential references to "supper-time" and "nine 
 o'clock," to the stealing on of the hours, to the approach of night, to 
 the reaching " midnight," intermingled with frequent anticipations of 
 "to-morrow"; then to the announcement of dawn and cock-crow 
 time, with the advance of morning ; and finally to the setting in of 
 day, bringing on that animated summons to immediate attack : all 
 together conducing to impress the imagination with the thorough 
 naturalness whereby the time has sped from overnight to next day 
 before the very eyes of the spectator. Moreover, we would call special 
 attention to the masterly touches by which the Dramatic Time is 
 
I5S THE SHAKESPEARE KEY. 
 
 managed in " King Henry VIII.," so as to compress within due limits 
 the saUent events of that interesting reign. So skilfully are the occur- 
 rences summed and made to appear actually passing or already past, 
 that we feel no difficulty in believing them to transpire within the 
 requisitely brief period of a drama. 
 
 We now proceed to the rest of our elucidation of the subject by cited 
 passages. 
 
 The long-sustained and continuously waged war during the siege of 
 Troy demanded of Shakespeare, in his adoption of " Troilus and Cres- 
 sida " as theme for a play, very peculiar treatment of its Dramatic Time. 
 He has therefore given many needful indications of Long Time, while 
 he has given even to those of Short Time a certain impression of 
 maintained action. For instance, in adverting to the fight, he has 
 frequently introduced the expression "to-day": which, while it gives 
 the effect of actual contest, also conveys the impression of an each day 
 renewed contest ; thus inducing the belief in the going-on of the ten 
 years' war, at the same time that he condenses it into the bounds of 
 a five-act drama. First, then, for these instances of Short Time : he 
 begins, in his Prologue, by claiming to plunge into the midst of the 
 long-continued war between the Greeks and Trojans ; but he proceeds 
 by giving the denotements of present and passing time in the manner 
 we have above stated : — 
 
 In Troy, there lies the scene. From isles of Greece 
 The princes orgulous, their high blood chaf'd, 
 Have to the port of Athens sent their ships, 
 
 . . . from th'' Athenian hay 
 Put forth toward, Phrygia : and their vow is made 
 To ransack Troy, . . . 
 To Tcnedos they come ; 
 
 And the deep-drawing barks do there disgorge 
 Their warlike fraughtage : now on Dardan plains 
 The fresh and yet unbruised Greeks do pitch 
 Their brave pavilions ; . . . 
 Now expectation, tickling skittish spirits, 
 On one and other side, Trojan and Greek, 
 Sets all on hazard : and hither am I come 
 A prologue arm'd, . . . 
 To tell you, fair beholders, that our play 
 Leaps o'er the vaunt and firstlings of those broils. 
 Beginning in the middle ; starting thence awav 
 To what may be digested in a play. — Tr. &• Cr. {Prologue). 
 
 I tell thee, / am mad 
 In Cressid^s love : . . , 
 
 What news, ^neas, from the field to-day ? — 
 That Paris is returned home, and hurt. . . . 
 Hark, what good sport is out of town to-day ! . . . — 
 But to the sport abroad ; are you bound thither ? — 
 In all swift haste. — 
 Come, go we, then, together. — Ibid., i. i. 
 
 Hector, whose patience 
 Is as a virtue fix'd, to-day was mov'd : 
 He chid Andromache, and struck his armourer 
 And, like as there were husbandry in war. 
 Before the sun rose, he was harness'd light, 
 And to the field goes he . . . 
 
DRAMATIC TIME. i59 
 
 Good morrow, uncle Pandarus. — Good vwrrow, cousin Cressid : what do you talk 
 of? Good morrow, Alexander. How do you, cousin ? When were you at Ilium ? — 
 This morning, uncle. — What were you talking of when I came ? Was Hector armed 
 and gone, ere yc came to Ilium ? Helen was not up, was she .■' — Hector was gone ; but 
 Helen was not up. — E'en so : Hector was stirring early. . . . 
 
 Hark 1 they are coming from the field ; shall we stand up here, and see them, as they 
 pass toward Ihum ? . . . Yonder comes Paris, yonder comes'Paris. . . . Who said he 
 came hurt home to-day? he's not hurt. . . . That's Helenus : I think he went not 
 forth to-day. . . Sir, my lord would instantly speak with you. — Where ? — At your own 
 house ; there he unarms him. — Good boy, tell him I come. — Tr. &• Cr., i. 2. 
 Speak frankly as the wind ; 
 
 It is not Agamemnon^s sleeping hour : 
 
 That thou shalt know, Trojan, he is awake, 
 
 He tells thee so himse'lf. . . — 
 
 Now, Ulysses, I begin to relish thy advice ; 
 
 And / will give a taste of it forthwith 
 
 To Agamemnon : go we to him straight. — Ibid., i. 3. 
 
 Achilles bids me say, he is much sorry. 
 
 If any thing more than your sport and pleasure 
 
 Did move your greatness, and this noble state, 
 
 To call upon him : he hopes it is no other. 
 
 But, for your health and your digestion sake — 
 
 An after-dinner^ s breath. — Ibid., ii. 3. 
 He desires you, that if the king call for him nis!(^/>c>', you will make his excuse. — . . . 
 What exploit 's in hand ? Where sups he to-night .^ . . . You must not know where he 
 s!:ps. . . . Sweet lord, who 's a-field to-day ? — Hector, Deiphobus, Helenus, Antenor, 
 and all the gallantry of Troy : I would fain have armed to-day, but my Nell would not 
 have it so. ... I long to hear how they sped to-day. . . . they 're come from field : 
 let us to Priam's hall, to greet the warriors. — Ibid., iii. i. 
 
 0, be thou my Charon, 
 
 And give me swift transportance to those fields 
 
 Where I may wallow in the lily beds 
 
 Propos'd for the deserver I O gentle Pandarus, 
 
 From Cupid's shoulder pluck his painted wings, 
 
 And fiy with me to Cressid! — 
 Walk here i" the orchard ; I 'II bring her straight. . . . She's making her ready; she'll 
 come straight : . . . I'll fetch her. . . Here she is now : . . . Comein,comein : I'll go 
 get a fire. — Will yon walk in, my lord ? . . . Will you walk in, my lord ? — Ibid., iii. 2. 
 
 Xow, princes, for the service I have done you, 
 
 Th' advantage of the time prompts me aloud 
 
 To call for recompense. — Ibid., iii. 3. 
 Good day, good day. — . . . Good morrow, Ajax. — Ha ? — Good morrow. — Ibid., iii. 3 
 
 Good morrow lord Mnea.s. . . . — In humane gentleness. 
 
 Welcome to Troy, now, by Anchises' life, 
 
 Welcome indeed ! . . . 
 
 What business, lord, so early ? — 
 
 I was sent for to the king; but why, I know not. — 
 
 His purpose meets you : 'twas to bring this Greek 
 
 To Calchas' house ; and there to render him. 
 
 For the freed Antenor, the fair Cressid : 
 
 Let 's have your company ; or, if you please. 
 
 Haste there before tis : I constantly do think 
 
 (Or, rather, call my thought a certain knowledge) 
 
 My brother Troilus lodges there to-night : 
 
 Rouse him, and give him note of our approach, . . . 
 . . . On, lord, we '11 follow you. — 
 
 Good morrow, all. — Ibid., iv. i. 
 
 Dear, trouble not yourself : the morn is cold. 
 
 Then, sweet my lord, /'// call mine uncle down ; 
 
 He shall unbolt the gates — 
 
i6o THE SHAKESPEARE KEY. 
 
 Trouble him not ; 
 To bed, to bed : . , . Good morrow, then, 
 Pr'ythee now to bed. . . . but that the busy day, 
 Wak'd by the lark, hath rous'd the ribald crows, 
 And dreaming night will hide our joys no longer, 
 I would not from thee.— 
 
 Night hath been too brief. — 
 Beshrew the witch I with venomous wights she stays, 
 As tediously as hell ; but flies the grasps of love. 
 With wings more momentary-swift than thought. . . . 
 Hast not slept to-night ? . . . 
 Good morrow, lord, good morrow. — 
 Who 's there ? my lord ^Eneas ! By my troth, 
 I knew you not : what news with you so early ? . . . 
 My lord, I scarce have leisure to salute you. 
 My matter is so rash : there is at hand 
 Paris your brother, and Deiphobus, 
 The Grecian Diomed, and our Antenor 
 Deliver'd to us: and for him, forthwith. 
 Ere the first sacrifice, within this hour. 
 We must give up to Diomedes' hand 
 The lady Cressida. . . . 
 They are at hand, and ready to effect it . . . 
 Thou must be gone, wench, thou must be gone : thou art changed for Antenor : thou 
 must to thy father, and be gone from Troilus. — Tr. &• Cr., iv. 2. 
 It is great morning; and the r prefix' d 
 Of her delivery to this valiar, ; Greek 
 Comes fast upon : good ray urother Troilus, 
 Tell you the lady what she is to do, 
 And haste her to the purpose. — 
 
 Walk into her house ; 
 /'// bring her to the Grecian presently. — Ibid., iv. 3. 
 My lord, is the lady ready ? — 
 Hark ! you are call'd: some say, the Genius so 
 Cries, " Come ! " to him that instantly must die, — 
 Bid them have patience ; she shall come anon. . . . 
 Welcome, Sir Diomed ! here is the lady 
 Which for Antenor we deliver you. — Ibid., iv. 4. 
 
 Hark I Hector's trumpet. — 
 
 How have we spent this morning ! 
 'Tis Troilus' fault; come, come, to field with him. — 
 Let us make ready straight. — 
 Yea, with a bridegroom^ s fresh alacrity. 
 Let us address to tend on Hector's heels : 
 The glory of our Troy doth this day lie 
 On his fair worth and single chivalry. — Ibid., iv. 4. 
 
 Here art thon in appointment fresh and fair. 
 Anticipating time with starting courage. 
 Give with thy trumpet a loud note to Troy, 
 Thou dreadful Ajax ; . . . 
 No trumpet answers. — 
 
 'Tis but early days. — . . . 
 The Trojans' trumpet. — 
 
 Yonder comes the troop. — 
 ... as you and lord ^neas 
 Consent upon the order of their fight. 
 So be it ; either to the uttermost, 
 Or else a breath : . . . 
 They are oppos'd already. — . . . 
 They are in action. — 
 
DRAMATIC TIME. i6i 
 
 Now, Ajax, hold thine own ! — 
 
 Hector, thou sleep'st 
 Awake thee ! . . . Princes, enough, so please you . . . 
 To-night all friends. — 
 Thy hand upon that match. — 
 First, all you peers of Greece, go to my tent ; 
 There in the full convive we. . . . 
 
 There Diomed doth feast with him to-night. — Tr. &• Cr.. iv. 
 I '11 heat his blood with Greekish wine to-night. . . . 
 Come, come, Thcrsites, help to trim my tent; 
 This night in banqueting must all be spent. 
 Away, Patroclus ! — . .. 
 
 So now, fair Prince of Troy, / bid good night. 
 Ajax commands the guard to tend on you. — 
 Thanks, and good night, to the Greeks' general. — 
 Good night, my lord. — 
 
 Good night, sweet lord Menelaus. — 
 Good night and welcome, both at once, to those 
 That go or tarry. — 
 
 Good night. — 
 Old Nestor tarries ; and you too, Diomed, 
 Keep Hector company an hour or two. — 
 I cannot, lord ; I have important business. 
 The tide whereof is now. Good night, great Hector. — 
 
 . . . And so, good night. — 
 Come, come, enter my tent. — Ibid., v. i. 
 What, are you up here ? ho ! speak. — 
 Who calls ?— 
 
 Diomed. Calchas, I think. Where's your daughter? — 
 She comes to you. — . . . 
 Good night. — . . . 
 
 No, no, good night : I '11 be your fool no more. — . . . 
 And so, good night. — . . . 
 Good night : I pr'ythee, come. . . . 
 
 . . . Cressid was here but now. . . . — 
 / have been seeking you this hour, my lord : 
 Hector, by this, is arming him in Troy ; 
 Ajax, your guard, stays to conduct you home. — 
 Have with you, prince, . . . 
 I'll bring you to the gates. — Ibid., v. 2. 
 Unarm, unarm, and do not fight to-day. — 
 You train me to offend you ; get you in : 
 By all the everlasting gods, I '11 go ! — 
 My dreams will, sure, prove ominous to the day. . . . 
 
 . . . Ho ! bid my trumpet sound ! . . 
 How now, young man ! mean'st thou to fight to-day ? . . 
 Unarm thee, go ; and doubt thou not, brave boy, 
 I 'II stand to-day for thee, and me, and Troy. . . . 
 Troilus, I would not have you fight to-day. — . . . 
 
 . . . and I myself 
 Am like a prophet suddenly enrapt. 
 To tell thee that this day is ominous : 
 Therefore, come back. — 
 
 .(Eneas is a-field ; 
 And I do stand engag'd to many Greeks, 
 Even in the faith of valour, to appear 
 This morning to them. . . . 
 
 Go in, and cheer the town : we'll forth and fight ; 
 Do deeds worth praise, and tell you them at night. — , 
 They are at it, hark ! Proud Diomed, believe, 
 I come to lose my arm, or win my sleeve. — Ibid., v. 3. 
 
i62 THE SHAKESPEARE KEY. 
 
 Now tliey arc clapper-clawing one another ; I'll go look on. . . . and no'iv is the cur 
 Ajax prouder than the cur Achilles, and will not arm to-day — Tr. &• Cr., v. 4. 
 
 Ajax hath lost a friend, 
 And foams at mouth, and he is arm'd. and at it. 
 Roaring for Troilus ; who hath done to-day 
 Mad and fantastic execution. — Ibid., v. 5. 
 
 Fate, hear me what I say ! 
 I reck not though I end ray life to-day. — Ibid., v. 6. 
 Sow is my day's work done ; I *11 take good breath : 
 Rest, sword ; thou hast thy fill of blood and death. — 
 Look, Hector, how the sun begins to set : 
 How tigly night comes breathing at his heels : 
 Even with the vail and darkening of the sun, 
 To close the day up, Hector's life is done. — . . . 
 The dragon wing of night overspreads the earth, 
 And, stickler-like, the armies separates. — Ibid., v. g. 
 Stand, ho ! yet are we masters of the field : 
 Never go home ; here starve we out the night. — 
 Hector is slain. — 
 
 Hector ! The gods forbid I — 
 He 'j dead ; and at the murderer's horse's tail. 
 In beastly sort, dragg'd through the shameful field. — Ibid.. \. 11. 
 
 And here are the denotements of Long Time : — 
 
 At Priam's table do I sit ; 
 
 And when fair Cressid comes into niv thoughts — 
 
 So, traitor ! When she comes ! Wlicn is slie thence ? — 
 ■Well, she \ookei yesternight fairer than ever I saw her look, or any woman else. . . 
 I would somebody had heard her talk yesterday, as I did. . . . She 's a fool to stay 
 behind her father ; let her to the Greeks, and so I '11 tell her the next time I see her. . . 
 
 . . . Helen must needs be fair, 
 
 ■When with your blood you daily paiijt her thus. . . . 
 
 I cannot come to Cressid but by Pandar ; 
 
 And he 's as tetchy to be woo'd to woo. 
 
 As she is stubborn-chaste against all suit. — Ibid., i. 1. 
 They say. he yesterday coped Hector in the battle, and struck him down ; the disdain 
 and shame \\ hereof have ever since kept Hector fasting and waking. . . . She came to 
 him th' other day into the compassed window. . . . \Vell, cousin, I told you a thing 
 yesterday; think on 't. — Ibid., i. ^. 
 
 Words, vows, gifts, tears, and love's full sacrifice. 
 
 He offers in another's enterprise : 
 
 But more in Troilus thousand fold I see 
 
 Than in the glass of Pandar's praise may be ; 
 
 Yet hold I off— Ibid, i. 2. 
 
 Nor, princes, is it matter new to us, 
 
 That we come short of our suppose so far. 
 
 That after seven years' siege, yet Troy walls stand. — Ibid., i. 3. 
 
 ■With him, Patroclus, 
 Upon a lazy bed, the livelong day 
 Breaks scurril jests ; 
 -\nd with ridiculous and awkward action 
 (Which, slanderer, he imitation calls) 
 He pageants us. Sometime, great Agamemnon, 
 Thy topless deputation he puts on, . . . — 
 .Ajax is grown self-will'd ; and bears his head 
 In such a rein, in full as proud a place 
 .\s broad Achilles; keeps his tent like him : 
 .Makes factious feasts ; rails on our state of war. 
 Bold as an oracle : and sets Thersites 
 
DRAMATIC TIME. 163 
 
 (A slave whose gall coins slander like a mint) 
 
 To match us in comparisons with dirt. — Tr. &• Cr., i. 3. 
 
 And will to-morrow with his trumpet call, 
 
 Mid-way between your tents and walls of Troy, 
 
 To rouse a Grecian that is true in love. — Ibid., i. 3. 
 
 Thou grumblest and railest every hour on Achilles, . . . — 
 
 This, sir, is proclaimed through all our host : 
 
 That Hector, by the fifth hour of the sun, 
 
 Will, with a trumpet, 'twixt our tents and Troy, 
 
 To-morrow morning call some knight to arms. — Ibid., ii. i. 
 
 After so many hours, lives, speeches spent. 
 
 Thus once again says Nestor from the Greeks. — Ibid., ii. 2. 
 
 Achilles will not to the field to-morrow. . . . 
 
 Fresh kings are come to Troy to-morrow. — Ibid., ii. 3. 
 
 Prince Troilus, / have lov'd you night and day 
 
 For many weary months. — Ibid., iii. 2. 
 
 I have abandon'd Troy, left my possession, 
 
 Incurr'd a traitor's name ; expos'd myself. 
 
 From certain and possess'd conveniences, 
 
 To doubtful fortunes ; sequestering from me all 
 
 That time, acquaintance, custom, and condition 
 
 Made tame and most familiar to my nature. . . 
 
 You have a Trojan prisoner, call'd An tenor. 
 
 Yesterday took : Troy holds him very dear. 
 
 Oft have you (often have you thanks therefore) 
 
 Desir'd my Cressid in right great exchange. 
 
 Whom Troy hath still denied. — Ibid., iii. 3. 
 
 Withal, bring word if Hector will to-morrow 
 
 Be answer'd in his challenge. . . . 
 
 . . . Now shall we see to-morrow — 
 An act that very chance doth throw upon him — 
 Ajax renown'd. . . . 
 He must fight singly to-morrow with Hector. ... If to-morrow be a fair da\', bv 
 eleven o'clock it will go one way or other. — Ibid., iii. 3. 
 
 You told how Diomed, a whole week by days. 
 Did haunt you in the field. — 
 
 Health to you, valiant sir, 
 During all question of the gentle truce. . 
 
 ... let him die. 
 With every joint a wound, and that to-morrow ! — Ibid., iv. i. 
 
 I will corrupt the Grecian sentinels. 
 To give thee nightly visitation. — Ibid., iv. 4. 
 I have, thou gallant Trojan, seen thee oft. 
 Labouring for destiny, make cruel way 
 Through ranks of Greekish youth. — Ibid., iv. 5. 
 You may have every day enough of Hector, 
 If you have stomach. — Ibid., iv. 5. 
 
 I am thwarted quite 
 From my great purpose in to-morrow's battle. — Ibid., v. i. 
 I will not meet with you to-morrow night. . . . 
 To-morrow will I wear it on my helm. — Ibid., v. 2. 
 
 The spirited style in which the chief occurrences in the career of 
 Coriolanus are condensed into the limits of a tragedy by Shake- 
 speare's art in contriving the Dramatic Time of his play bearing the 
 name of its Roman hero, is worthy of close examination and high 
 admiration. So spirited is it, that the imagination is hurried away 
 
 M 2 
 
i64 THE SHAKESPEARE KEY. 
 
 into full credence of the requisite brevity of the period needed for 
 naturally witnessing a stage representation ; while only the absolutely 
 demanded hints of Long Time are brought in here and there as the 
 drama proceeds. First, for the passages indicative of Short Time: — 
 
 First, you know, Cains Marcins is chief enemy to the people. — We know t, we know 't. 
 — Let lis kill him, and we '11 have corn at our own price. Is t a verdict ? — No more 
 talking on't; let it be done: away, away! . . . Where's Caius Marcius ? — Here: 
 what's the matter ? — The news is, sir, the Volsces are in arms. — CorioL, i. x. 
 
 Our army 's in the field : 
 We never yet made doubt but Rome was ready 
 To answer us. — Ibid., i. i. 
 Madam, the lady Valeria is come to visit you. — . . . My ladies both, good day to 
 you. . . . Come, lay aside your stitchery ; I must have you play the idle huswife 
 with me this afternoon. ... In truth, la, go with me ; and I '11 tell you excellent 
 news of your husband. . . . there came news from him last night. . . . Thus it is: 
 the Volsces have an army forth ; against whom Cominins the general is gone, with one 
 part of our Roman power : your lord, and Titus Lartius. are set dovin before their city 
 Corioli ; they nothing doubt prevailing, and to make it brief uars. — Ibid., i. 3. 
 
 The citizens of Corioli have issued. 
 And given to Lartius and to Marcins battle: 
 I saw our party to their trenches driven, 
 And then I came away. — 
 
 . . . How long is 't since? — 
 Above an hour, my lord. — 
 'Tis not a mile i briefly we heard their drums : 
 How couldst thou in a mile confound an hour. 
 And bring thy news so late ? — 
 
 Spies of the Volsces 
 Held me in chase, that I was forc'd to wheel 
 Three or four miles about ; else had I, sir. 
 Half an hour since brought my report. — Ibid., i. 6. 
 I do beseech you 
 ... by the vows 
 We have made to endure friends, that you directly 
 Set me against Anfidius and his Antiates ; 
 And that you not delay the present, but. 
 Filling the air with swords advanced and darts. 
 
 We prove this very hour. — Ibid., i. 6. 
 
 Within these three hours, TuUus, 
 Alone I fought in your Corioli walls. 
 
 And made what work I pleas'd. — Ibid., i. 8. 
 
 If I should tell thee o'er thy this day's work. 
 
 Thou 'It not believe thy deeds : . . . 
 
 . . . from this time. 
 
 For what he did before Corioli, call him. 
 
 With all th' applause and clamour of the host, 
 
 Caius Marcius Coriolanus. . . . 
 
 . . . Go we to our tent : 
 
 The blood upon your visage dries ; 'tis time 
 
 It should be look'd to ; come. — Ibid., i. g. 
 
 The town is ta'en ! . . . Go you to the city ; 
 
 Learn how 'tis held ; and what they are that must 
 
 Be hostages for Rome. — 
 
 Will not you go ? — 
 
 I am attended at the cypress grove : I pray you 
 
 ('Tis south the city mills), bring me word thither 
 
 How the world goes, that to the pace of it 
 
 / may spur on my journey. — Ibid., i. 10. 
 
DRAMATIC TIME. 165 
 
 The augurer tells me we shall have news to-night. . . . How now, my as fair as 
 noble ladies (and the moon, were she earthly, no nobler), whither do you follow your 
 eyes so fast ? — Honourable Menenius, my boy Marcius approaches ; for the love of 
 yuno, let us go. — . . . Hoo ! Marcius coming home / . . . I will make my very house 
 reel to-night. — Coriol., ii. i. 
 
 Come, come, they are almost here. . . . Make way, they are coming. — . . . 
 
 Therefore, please you, 
 Most reverend and grave elders, to desire 
 The present consul, and last general 
 In our well-found successes, to report 
 A little of that worthy work performed 
 By Caius Marcius Coriolanus; whom 
 We meet here, both to thank, and to remember 
 With honours like himself . . . 
 The senate, Coriolanus, are well pleas' d. 
 To make thee consul. — Ibid., ii. 2. 
 
 ifi^j'C Ac comes, and in the gown of humility : . . . — Pray you now, if it may stand with 
 the tune of your voices that I may be consul, I have here the customary gown. — . . . 
 You have stood your limitation; and the tribunes 
 Endue you with the people^s voice : remains 
 That, in th' official marks invested, you 
 Ation do meet the senate. — 
 
 Is this done ? — 
 The custom of request _)'om have discharg'd : 
 The people do admit you ; and are summon'd 
 To meet anon, upon your approbation. . . 
 May I change these garments ? — 
 
 You may, sir. — 
 That I HI straight do ; and, knowing myself again, 
 Repair to the senate-house. — . . . 
 He has it now ; and, by his looks, methinks, 
 'Tis warm at his heart. — . . . 
 Get you hence instantly ; and tell those friends. 
 They have chose a consul that will from them take 
 Their liberties: . . . To the Capitol, 
 Come : we 'II be there before the stream o' the people. — Ibid., ii. 3. 
 
 Tullus Aufidius, then, had made new head ? — 
 
 He had, my lord ; and that it was which caus'd 
 
 Our swifter composition.— Ibid., iii. r. 
 
 He has spoken like a traitor, and shall answer 
 
 As traitors do. . . . 
 
 Go, call the people ; in whose name, myself 
 
 Attach thee as a traitorous innovator, 
 
 A foe to the public weal : obey, I charge thee. 
 
 And follow to thine answer. — . . . 
 
 . . . Lay hands upon him. 
 And bear him to the rock. — . . . 
 
 . . . Will you hence. 
 Before the tag return ? whose rage doth rend 
 Like interrupted waters, and o'erbear 
 What they are us'd to bear. — 
 
 Pray you, be gone. — . . . 
 . . . Nay, come away. . . . 
 . . . Speak briefly, then ; 
 For we are peremptory to despatch 
 This viperous traitor : to eject him hence. 
 Were but one danger ; and to keep him here. 
 Our certain death : therefore it is decreed 
 He dies to-night. — . . . We 'II hear no more. 
 Pursue him to his house, and pluck him thence. — Ibid., iii. 1. 
 
i66 THE SHAKESPEARE KEY. 
 
 What, will he come ? — 
 
 He 's coming. — . . . 
 Well, here he comes. — . . . We, 
 Even from this instant, banish him our city ; 
 In peril of precipitation 
 From off the rock Tarpeian. . . . 
 It shall be so, it shall be so ; let him away : he 's banish'd, and it shall be so. . . . 
 The people's enemy is gone, is gone ! — Our enemy is banish' d ! he is gone ! hoo ! hoo ! — 
 Go see him out at gates, and follow him. 
 As he hath follow'd you, with all despite ; . . . 
 Come, come, lei ns see him out at gates, come : 
 The gods preserve our noble tribunes! Come. — CorioL, iii. 3. 
 
 Come, leave your tears ; a brief farewell : the beast 
 With many heads butts me away. . . . 
 
 . . . bring me but out at gate. 
 Come, my sweet wife, my dearest mother, and 
 My friends of noble touch ; when I am forth. 
 Bid me farewell, and smile. — Ibid., iv. i. 
 
 You'll sup with me? — 
 Anger 's my meat ; I sup upon myself. 
 And so shall starve with feeding. Come, let's go. — Ibid., iv. 2. 
 
 I shall, between this and supper, tell you most strange things from Rome; all tending 
 to the good of their adversaries. Have you an army ready, say you ? — A most royal 
 one ; the centurions and their charges, distinctly billeted, already in the entertainment, 
 and to be on foot at an hour's warning. — I am joyful to hear of their readiness, and am 
 the man, I think, that shall set them in present action. . . . Well, let us go together. — 
 Ibid., iv. 3. 
 
 A goodly city is this Antium. . . . Direct me, if it be your will. 
 Where great Aufidius lies ; is he in Antium ? — 
 He is, and feasts the nobles of the state 
 At his house this night. — 
 
 Which is his house, beseech you ? — 
 This, here, before you. — . . . I'll enter : if he slay me. 
 He does fair justice ; if he give me way, 
 I '11 do his country service. — Ibid., iv. 4. 
 The cruelty and envy of the people. 
 Permitted by our dastard nobles, who 
 Have all forsook me, hath devour'd the rest ; 
 And suffer'd me by the voice of slaves to be 
 Whoop'd out of Rome. Now, this extremity 
 Hath brought me to thy hearth : not out of hope. 
 Mistake me not, to save my life ; . . . 
 
 . . . but in mere spite. 
 To be full quit of those my banishers. 
 Stand I before thee here. . . . 
 
 ... 0, come, go in. 
 And take our friendly senators by the hands ; 
 WJio now are here, taking their leaves of me. 
 Who am prepar'd against your territories. 
 Though not for Rome itself. . . . But come in : 
 Let me commend thee first to those that shall 
 Say "yea " to thy desires. A thousand welcomes ! 
 And more a friend than e'er an enemy ; 
 
 Yet, Marcius, that was much. Your hand ; most welcome ! — 
 Here 'i a strange alteration ! ... He is so made on here within, as if he were son 
 and heir to Mars ; set at upper end o' the table ; no question asked him by any of the 
 senators, but they stand bald before him ; our general himself makes a mistress of 
 him, ; sanctifies himself with 's hand, and turns up the white o' the eye to his discourse. 
 But the bottom of the news is, our general is cut i' the middle, and but one half of what 
 he was yesterday ; for the other has half, by the entreaty and grant of the whole table. 
 
DRAMATIC TIME. 167 
 
 He 'II go, he says, and sowle the porter of Rome gates by the ears : he will mow down 
 all before him, and leave his passage polled. — . . . But when goes this forward ? — 
 To-morrow ; to-day ; presently ; you shall have the drum struck up this afternoon : 'tis, 
 as it were, a parcel of their feast, and to be executed ere they wipe their lips. — . 
 They are rising, they are rising. — In, in, in, in ! — Coriol., iv. 5. 
 
 that Marcius, 
 
 jfoin^d with Aufdius, leads a power 'gainst Rome, 
 
 And vows revenge as spacious as between 
 
 The young'st and oldest thing- . . . 
 
 A fearful army, led by Caius Marcius, 
 
 Associated with Aufdius, rages 
 
 Upon our territories ; and have already 
 
 O'erborne their way, consum'd with fire, and took 
 
 What lay before them. — . . . Here come the clusters. 
 . . . You are they 
 
 That made the air unwholesome, when you cast 
 
 Your stinking greasy caps, in hooting at 
 
 Coriolanus' exile. Now he 's coming ; 
 
 And not a hair upon a soldier's head, 
 
 Which will not prove a whip : as many coxcombs. 
 
 As you threw caps up, will he tumble down, 
 
 And pay you for your voices. — Ibid., iv. 6. 
 
 So that all hope is vain. 
 
 Unless his noble mother, and his wife ; 
 
 Who, as I hear, mean to solicit him 
 
 For mercy to his country. Therefore, let's hence. 
 
 And with our fair entreaties haste them on. — Ibid., v. i. 
 
 I am an officer of state, and come 
 
 To speak with Coriolanus. — 
 Has he dined, canst thou tell ? for I would not speak with him till after dinner. . . 
 Away ! — How! Away! — . . . Be gone. Mine ears against your suits are stronger 
 than your gates against my forces. . . . Another word, Menenius, 7 will not hear thee 
 speak. — . . I say to you, as I was said to. Away ! — Ibid., v. 2. 
 
 Ha ! what shout is this ? 
 Shall I be tempted to infringe my vow 
 In the same time 'tis made ? I will not. — . . , 
 You have said you will not grant us anything ; 
 For we have nothing else to ask, but that 
 Which you deny already : yet we will ask : 
 That, if you fail in our request, the blame 
 May hang upon your hardness . . . 
 
 . . . He turns away : 
 Down, ladies ; let us shame him with our knees. 
 To his surname, Coriolanus, 'longs more pride. 
 Than pity to our prayers. Down : an end ; 
 This is the last : so we will home to Rome, 
 Ayid die among our neighbours. . . . Come, let us go : . 
 . . . Yet give us our despatch : . . 
 . . . O mother, mother ! 
 What have you done ? . . . O my mother ! mother ! I 
 You have won a happy victory to Rome ; 
 hut, for yoxir son — believe it, 0, beH ve it — 
 Most dangerously you have with him prevail'd. 
 If not most mortal to him. But let it come. . . . 
 Come, enter with us. Ladies, you deserve 
 To have a temple built you : all the swords 
 In Italy, and her confederate arms. 
 Could not have made this peace. — Ibid., v. 3. 
 
 Is 't possible that so short a time can alter the condition of a man ? — There is 
 differency between a grub and a butterfly; yet your butterfly was a grub. This 
 
i68 THE SHAKESPEARE KEY. 
 
 Marcius is grown from man to dragon : he has wings ; he 's more than a creeping 
 thing. . . . Mark what mercy his mother shall bring from him : there is no more 
 mercy in him, than there is milk in a male tiger ; that shall our poor city find. . . . 
 Good neii's, good news ; the ladies have prevailed, 
 The Volsciaiis are dislodg'd, and Marcius gone : 
 A merrier day did never yet greet Rome, 
 No, not the expulsion of the Tarquins. . . . 
 . . . Why, hark yon ! 
 The trumpets, sackbuts, psalteries, and fifes, 
 Tabors, and cymbals, and the shouting Romans, 
 Make the sun dance. Hark you ! — 
 
 This is good news : 
 / will go meet the ladies. . . . You have pray'd well to-day ■ 
 This morning for ten thousand of your throats 
 I'd not have given a doit. Hark, how they joy ! — . . . 
 
 . . . They are near the city ? — ■ 
 Almost at point to enter. — 
 
 We will meet them , 
 And help the joy. — 
 
 Enter the Ladies, &*€. 
 BcAoM o»r/aii'o«eii, the life of Rome ! . . . 
 
 . . . Welcome, ladies, welcome. — CorioL, v. 4. 
 
 Go tell the lords of the city, / am here : 
 Deliver them this paper : having read it, 
 Bid them repair to the market-place ; where I, 
 Even in theirs and in the commons' ears, 
 Will vouch the truth of it. . . . Despatch. — . . 
 Yonr native town you enter'd like a post, 
 And had no welcomes home ; but he returns, 
 Splitting the air with noise. — . . . Say no more : 
 Here come the lords. . . . 
 He approaches : you shall hear him. — 
 Hail, lords ! I am return' d your soldier ; . . . 
 . . . We have made peace. 
 With no less honour to the Antiates, 
 Than shame to the Romans. — .- . . 
 You lords and heads of the state, perfidiously 
 He has betrayed yonr business, and given up, 
 For certain drops of salt, your city Rome 
 (I say your city) to his wife and mother ; 
 Breaking his oath and resolution, like 
 A twist of rotten silk. . . . 
 
 . . . O Tullus ! 
 Thou hast done a deed whereat valour will weep. — 
 . . . Bear from hence his body, — Ibid., v. 5. 
 
 And. secondly, for the passages indicative of Long Time : — 
 
 Indeed, no, by your patience ; I will not over the threshold till my lord retnrnfrotn 
 the wars. — Ibid., i. 3. 
 
 He is retir'd to Antium. 
 Spoke he of me ? — 
 
 He did, my lord. — 
 
 How ? what ? — 
 How often he had met you, sword to sword ; 
 That of all things upon the earth he hated 
 Your person most ; that he would pawn his fortunes 
 To hopeless restitution, so he might 
 Be call'd your vanquisher. — 
 
 At Antium lives he? — 
 At Antium. — 
 
DRAMATIC TIME. 169 
 
 I wish I had a cause to seek him there, 
 
 To oppose his hatred fully. — CorioL, iii. i. 
 
 Whither wilt thou go ? Take good Cominius 
 
 With thee 'awhile : determine on some course, 
 
 More than a wild exposure to each chance 
 
 That starts V the way before thee. — . . . 
 
 / 'II follow thee a month, devise with thee 
 
 Where thou shall rest, that thou may'st hear of us, 
 
 A7id we of thee ; so, if the time thrust forth 
 
 A cause for thy repeal, we shall not send 
 
 O'er the vast world to seek a single man; 
 
 And lose advatUage, which doth ever cool 
 
 r the absence of the needer. — 
 
 Fare ye well : 
 Thou hast years upon thee, and thou art too full 
 Of the war's surfeits, to go rove with one 
 That 's yet unbruised. . . . 
 While I remain above the ground, you shall 
 Hear from me still ; and never of me aught 
 But what is like me formerly. — . . . 
 If I could shake off but one seven years 
 From these old arms and legs, by the good gods, 
 I'd with thee every foot. — Ibid., iv. i. 
 
 Thou hast beat me out 
 Twelve several times, and I have nightly since 
 Dreamt of encounters 'twixt thyself and me ; 
 We have been down together in my sleep. 
 Unbuckling helms, fisting each other's throat, 
 And waked half dead with nothing. — Ibid., iv. 5. 
 
 We hear not of him, neither need we fear him ; 
 
 His remedies are tame i' the present peace 
 
 And quietness 0' the people, which before 
 
 Were in wild hurry. Here do we make his friends 
 
 Blush that the world goes well ; ^'ho rather had, 
 
 Though themselves did suffer by 't, behold 
 
 Dissentious numbers pestering streets, than see 
 
 Our tradesmen singing in their shops, and going 
 
 About their functions friendly . — • 
 
 We stood to 't in good time. Is this Menenius ? — 
 
 'Tis he, 'tis he. O, he is grown most kind 
 
 Of late. Hail, sir !— 
 
 Hail to you both. — 
 Your Coriolantis is not much miss'd. 
 But with his friends : the commonwealth doth stand ; 
 And so would do, were he more angry at it. — 
 All 's well ; and might have been much better, if 
 He could have temporis'd. — 
 
 Where is he, hear you ? — 
 Nay, I hear nothing : his mother and his wife 
 Hear nothing from him. — . . . 
 This is a happier and more comely time 
 Than when these fellows ran about the streets. 
 Crying confusion. — Ibid., iv. 6. 
 
 You are they 
 That made the air unwholesome, when you cast 
 Your stinking greasy caps, in hooting at 
 Coriolanus' exile. . . . 
 I ever said we were i' the wrong when we banish'd him. — So did we all. — Ibid., iv. 6. 
 He bears himself more proudlier, 
 Even to my person, than I thought he would 
 
170 THE SHAKESPEARE KEY. 
 
 When first I did embrace him : . . . 
 
 All places yield to him ere he sits down ; 
 
 And the nobility of Rome are his.— CoWoZ., iv. 7. 
 
 We will before the walls of Rome to-morrow 
 
 Set down our host . . . 
 
 . . . O, a kiss 
 Long as my exile, sweet as my revenge ! 
 Now, by the jealous queen of heaven, that kiss 
 I carried from thee, dear ; and my true lip 
 Hath virgin'd it e'er since. — Ibid., v. 3. 
 
 / rais'd him, and I pawn'd 
 Mine honour for his truth : who being so heighten'd, 
 He water'd his new plants with dews of flattery. 
 Seducing so my friends ; . . . he came unto my hearth ; 
 Presented to my knife his throat : I took him ; 
 Made him joint-servant with me ; gave him way 
 In all his own desires ; nay, lei him choose 
 Out of my files, his projects to accomplish. 
 My best and freshest men; served his designmcnts 
 In mine own person ; holp to reap the fame 
 Which he did end all his. — Ibid., v. 5. 
 
 If you have writ your annals true, 'tis there. 
 
 That, like an eagle in a dove-cote, / 
 
 Fluttered your Volscians in Corioli. — Ibid., v. 5. 
 
 In " Timon of Athens ' there is sufficient length of time implied to 
 allow of the events which precede, accompany, and close the reverse 
 of fortune which befalls the hero ; but yet, while this is the case, the 
 Dramatic Time is so managed that they seem to occur within the 
 space which comes beneath the possible ken of spectators sitting at a 
 play. By Shakespeare's system of simultaneously introduced Short 
 Time and Long Time, this dramatic illusion is effected. 
 
 Here are the passages introducing Short Time : — 
 
 Good day, sir. — . . .. When comes your book forth ? — 
 
 Upon the heels of my presentment, sir. — . . . 
 
 How this lord is followed ! — 
 
 The senators of Athens : happy man ! — 
 
 Look, more ! 
 
 You see this confluence, this great flood of visitors. . . . 
 
 You see how all conditions, how all minds 
 
 (As well of glib and slippery creatures, as 
 
 Of grave and austere quality) tender down 
 
 Their services to lord Timon 
 
 . . . Imprison'd is he, say you ? — 
 Ay, my good lord : five talents is his debt. 
 
 . . . I HI pay the debt, and free him. . . . 
 Commend me to him : I will send his ransom ; 
 And, being enfranchis'd, bid him come to me. — . . . 
 Vouchsafe my labour, and long live your lordship ! — 
 / thank you ; you shall hear from me anon : 
 Go not away. What have you there, my friend ? — 
 A piece of painting, which I do beseech 
 Your lordship to accept. — 
 
 Painting is welcome. . . . 
 ... I like your work ; 
 And you shall find I like it : wait attendance 
 Till you hear farther from me. . . . give me your hand ; 
 We mtist needs dine together. — . . . 
 Good morrow to thee, gentle Apemantus. . . , 
 
DRAMATIC TIME. 
 
 Wilt dine with me, Apemantus ? — . . . 
 What trumpet 's that ! — 
 
 'Tis Alcibiades, and 
 Some twenty horse, all of companionship. — 
 Pray, entertain them ; give them guide to lis. 
 You must needs dine with me : go not you hence, 
 Till I have thank'd yon : when dinner ^s done. 
 Show me this piece. . . . 
 What time o' day is 7, Apemantus ? — . . . 
 Time to be honest. . . . 
 Thou art going to lord Timon's feast ? — 
 Ay, to see meat fill knaves, and wine heat fools. 
 
 . . . Come, shall we in. 
 And taste lord Timon's bounty ? . . . 
 I'll keep you company. — Tinion, i. i. 
 
 You have done our pleasures mnch grace, fair ladies, 
 
 Set a fashion on our entertainment, . . . 
 
 Ladies, there is an idle banquet 
 
 Attends you : please you to dispose yourselves. — 
 
 Most thankfully, my lord. . . . 
 
 Where be our men .' — 
 
 Here, my lord, in readiness. — 
 
 Our horses ! — . . . 
 
 Lights, more lights ! — 
 
 The best of happiness. 
 Honour, and fortunes, keep with you, lord Timon ! — 
 Ready for his friends. [Exeunt Alcibiades, Lords, ^c. — Ibid., i. 
 
 Caphis, ho ! 
 Caphis, I say ! — 
 
 Here, sir, what is your pleasure ? — 
 Get on your cloak, and haste yon to lord Timon ; 
 Importune him for moneys ; be not ceas'd 
 With slight denial. . . . Get you gone. — 
 I go, sir. — Ibid., ii. l 
 
 I must be round with him, now he comes from hunting. 
 Fie, fie, fie, fie! — 
 
 Good even, Varro : what, 
 Yoxt come for money ? — 
 
 Is 't not your business too ? — 
 It is : and yours too, Isidore ? — 
 
 It is so. — 
 Would we were all discharg'd / — 
 
 I fear it. — 
 Here comes the lord. — 
 
 So soon as dinner "5 done, we 'II forth again. — . 
 He humbly prays your speedy payment. — 
 If you did know, my lord, my master's wants, — 
 And I am sent expressly to your lordship. — 
 Give me breath. 
 
 I do beseech you, good my lords, keep on ; 
 / 'II wait upon you instantly. Come hither : pray you. 
 How goes the world, that I am thus encountcr'd 
 With clamorous accounts of date-broke bonds. 
 And the detention of long-since-due debts. 
 Against my honour ? — 
 
 Please you, gentlemen 
 The time is unagreeable to this business ; 
 Your importunacy cease till after dinner ; 
 That I may make his lordship understand 
 Wherefore you are not paid. — 
 
172 THE SHAKESPEARE KEY. 
 
 Do so, my friends. 
 See them well entertain'd. — 
 
 Pray, draw near. . . . 
 Pray you, walk near: I'll speak with you anon. . . . 
 
 . . . My dear-lovd lord. 
 Though you hear now (too late \), yet now 's a time — 
 The greatest of your having lacks a half 
 To pay your present debts. — ■ . . . 
 
 . , . The future comes apace. — . . . 
 And in some sort, these wants of mine are crown' d. 
 That I account them blessings ; for by these 
 Shall I try friends : you shall perceive how you 
 Mistake my fortunes ; I am wealthy in my friends. 
 Within there ! Flaminius ! Servilius ! — 
 My lord ? my lord ? — 
 / will despatch you severally : you, to lord Lucius: to lord LucuUus you; / hunted 
 with his honour to-day ; you, to Sempronius: commend me to their loves; and, I am 
 proud, say, that my occasions have founa time to use them toward a supply of money. 
 ... Go you, sir, to the senators . . . bid them send o' the instant a thousand talents 
 to me. — 
 
 / have been bold 
 (For that I knew it the most general way) 
 To them to use your signet and your name ; 
 But they do shake their heads, and I am here 
 No richer in return. — Timon, ii. 2. 
 I have told my lord of you; he is coming down to you. — I thank you, sir. — Here 's my 
 lord. — One of lord Timon's men ? a gift, I warrant. Why, this hits right ; I dreamt 
 of a silver basin and ewer to-night. . . . what hast thou there under thy cloak, pretty 
 Flaminius? — 'Faith, nothing but an empty box, sir, which, in my lord's behalf, I 
 come to entreat your honour to supply ; who, having great and instant occasion to 
 use fifty talents, hath sent to your lordship to furnish him, nothing doubting your present 
 assistance therein . . . this is no time to lend money, especially upon bare friend- 
 ship. — . . . Has friendship such a faint and milky heart, it turns in less than two 
 nights ? . . . this slave unto his honour has my lord's meat in him. — Ibid., iii. i. 
 
 I can tell you one thing, my lord, and which I hear from common rumours, — now 
 lord Timon's happy hours are done and past, and his estate shrinks fy'om him. — . . . not 
 long ago, one of his men was with the lord Lncullus, to borrow so many talents ; 
 nay, urged extremely for't, and showed what necessity belonged to't, and yet was 
 denied. — . . . And what has he sent now ? He has only sent his present occasion now, 
 my lord: requesting your lordship to supply his instant use with so many talents. — 
 Ibid., iii. 2. 
 
 This was my lord's best hope ; now all are Jicd, 
 
 Save the gods only : 7iow his friends are dead. — Ibid., iii. 3. 
 
 Well met ; good morrow, Titus and Hortensius. — . . . 
 
 One business does command us all; for mine 
 
 Is money. — 
 
 So is theirs and ours. — 
 
 And sir Philotus too !^ 
 Good day at once. — 
 
 Welcome, good brother. — 
 What do you think the hour ? — 
 
 Labouring for nine. — 
 So much ? — 
 
 Is not my lord seen yet ? — 
 
 Not yet. — 
 I wonder on 't ; he was wont to shine at seven. — 
 Ay, but but the days are waxed shorter with him. . . . 
 Pray, is my lord ready to come forth ? — . . . O. here 's Servilius ; now we shall 
 know some answer.— 1{ I might beseech you, gentlemen, to repair some other hour, I 
 should derive much from 't ; . . . Go, bid all my friends again, . . . I'll once more 
 feast the rascals. — Ibid., iii. 4. 
 
DRAMATIC TIME. i73 
 
 We are for law : he dies ; urge it no more, 
 On height of our displeasure ; friend or brother, 
 He forfeits his own blood that spills another. — 
 . . . And, not to swell our spirit. 
 He shall be executed presently. — -Timoii, iii. 5. 
 
 The good time of day to you. sir.— . . . He hath sent me an earnest inviting. — 
 . . . Here he comes. — . . . Gentlemen, our dinner will not recompense this long stay: 
 feast your ears with the music awhile, if they will fare so harshly 0' the trumpet's 
 sound; we shall to't presently — . . . Alcibiades is banished. — . . . Will you draiv 
 near? — I'll tell you more anon. Here 's a, noble feast toward. — . . . Each man to his 
 stool, with that spur as he would to the lip of his mistress : your diet shall be in all 
 places alike. Make not a city feast of it, to let the meat cool ere we can agree upon the 
 first place : sit, sit. . . . Uncover, dogs, and lap. . . . 
 
 May you a better feast never behold. 
 
 You knot of mouth-friends ! smoke and lukewarm water 
 
 Is your perfection. This is Timon's last. . . . 
 
 Burn, house 1 sink, Athens ! henceforth hated be 
 
 Of Timon, man, and all humanity 1 , , , 
 
 Let's make no stay.— Ibid., iii. 6. 
 
 Nothing I 'II bear from thee, 
 But nakedness, thou detestable town ! 
 Take thou that too, with multiplying bans ! 
 Timon will to the woods. — Ibid., iv. i. 
 
 Such a house broke ! 
 So noble a master fallen ! All gone ! and not 
 One friend to take his fortune by the arm. 
 And go along with him ! — . . . More of our fellows. — 
 All broken implements of a ruin'd house. — . . . 
 
 . . . Good fellows all. 
 The latest of my wealth I'll share amongst you. . . . 
 
 . . . Alas, kind lord I 
 He 's flung in rage from this ingrateful seat 
 Of monstrous friends ; nor has he with him to 
 Supply his life, or that which can command it. 
 I'll follow, and inquire him out. — Ibid., iv. 2. 
 
 Therefore, be abhorr'd 
 All feasts, societies, and throngs of men I 
 His semblable, yea, himself, Timon disdains : 
 Destruction fang mankind ! Earth, yield me roots ! 
 
 What is here ? 
 Gold? yellow, glittering, precious gold ? No, gods, 
 I am no idle votarist. Roots, you clear heavens 1 — 
 
 . . . What art thou there ? . . . 
 What is thy name ? Is man so hateful to thee. 
 That art thyself a man ? — 
 / am Misanthropos, and hate mankind. 
 
 . . . There 's gold to pay thy soldiers : 
 Make large confusion ; and, thy fury spent, 
 Confounded be thyself! Speak not, be gone. — . . . 
 Strike up the drum towards Athens ! Farewell, Timon. — Ibid., iv. 3. 
 
 I am sick of this false world ; and will love naught 
 
 But even the mere necessities upon 't 
 
 Then, Timon, presently prepare thy grave. — Ibid., iv. 3. 
 
 Rascal thieves. 
 Here 's gold. . . . Love not yourselves ; away ! 
 Rob one another. There 's more gold : cut throats ; 
 All that you meet are thieves. To Athens go. — Ibid., iv. 3. 
 Oh, you gods 1 
 Is yond' despised and ruinous man my lord ? . . . 
 
1-4 THE SHAKESPEARE KEY. 
 
 He has caught me in his eye : I will present 
 
 My honest grief unto him ; and as my lord, 
 
 Still serve him with my life. My dearest master ! — 
 
 Away ! what art thou ? — . . . 
 
 An honest poor servant of yours. — 
 
 . . . Thou singly honest man. 
 Here take : the gods, out of my misery, 
 Have sent thee treasure, go, live rich and happy ; . 
 And so, farewell, and thrive. — 
 
 O let me stay. 
 And comfort you, my master. — 
 
 If thou hat'st curses, 
 Stay not; fly, whilst thou 'rt bless'd and free.— Titnon, iv. 3. 
 
 Hail, worthy TimonJ — . . . 
 
 We are hither come to offer you our service. — . . . 
 
 Hence, pack ! there 's gold ; ye came for gold, ye slaves ; 
 
 You have done work for me, there 's payment : hence ! — Ibid., v. i. 
 
 Bring ns to his cave : 
 It is our part, and promise to the Athenians. 
 To speak with Timon. — . . . Bring us to him, 
 And chance it as it may. — 
 
 Here is his cave. 
 Peace and content be here ! Lord Timon ! Timon ! 
 Look out and speak to friends : th' Athenians. 
 By two of their most reverend senate, greet thee : 
 Speak to them, nohle Timon. — 
 Thou sun, that comfort'st, burn ! speak, and be hang'd : 
 
 . . . So soon we shall drive back 
 Of Alcibiades th' approaches wild ; 
 Who. like a boar too savage, doth root up 
 His country's peace. — . . . 
 
 . . . Stay not, all '5 in vain, — 
 Why, I was writing of my epitaph ; 
 It will be seen to-morrow : my long sickness 
 Of health and living now begins to mend. 
 And nothing brings me all things. — Ibid., v. 2. 
 
 His expedition promises 
 Present approach. — 
 We stand much hazard, if they bring not Timon. — Ibid., \. 3. 
 
 Sound to this coward and lascivious town 
 Our terrible approach. — . . Now the time is flush, 
 When crouching marrow, in the bearer strong. 
 Cries of itself, " No more." — . . . 
 
 . . . Then, dear countryman. 
 Bring in thy ranks, but leave without thy rage : 
 Spare thy Athenian cradle. — . . . 
 Descend, and open your uncharged ports : 
 Those enemies of Timon's and mine own. 
 Whom you yourselves shall set out for reproof. 
 Fall, and no more. . . . — 
 
 . . . 'Tis most nobly spoken. — 
 Descend, and keep your words. — 
 My noble general, Timon is dead. — Ibid., v. 5. 
 
 And here are the passages introducing Long Time : — 
 
 Please you, my lord, that honourable gentleman, lord Lucullus, entreats your 
 company to-morrow to hunt with him. — Ibid., i. •^. 
 
 And late, five thousand; to Varro and to Isidore 
 He owes nine thousand ; besides my former sum, 
 
DRAMATIC TIME. 
 
 Which makes it five and twenty. Still in motion 
 
 Of raging waste ? It cannot hold; it will not. — Tlmon, ii. i. 
 
 Go to my steward. — 
 
 Please it your lordship, he hath put me off 
 
 To the succession of new days this month. . . . — 
 
 I pr'ythee but repair to me next rnorning. — . . . 
 
 'Twas due on forfeiture, my lord, six weeks 
 
 And past. — 
 
 Your steward puts me off, my lord. — Ibid., ii. 2. 
 Ventidius lately 
 
 Buried his father ; by whose death, he 's stepp'd 
 
 Into a great estate : when he was poor. 
 
 Imprisoned, and in scarcity of friends, 
 
 I clear d him with five talents. — Ibid., ii, 2. 
 
 We banish thee for ever. — . . . 
 
 If, after two days' shine, Athens contain thee. 
 
 Attend our weightier judgment. . . . — 
 . . . Banishment ! 
 
 It comes not ill ; I hate not to be banish'd; 
 
 It is a cause worthy my spleen and fury, 
 
 That I may strike at Athens. I'll cheer up 
 
 My discontented troops, and lay for hearts. — Ibid., iii. 5. 
 I think this honourable lord did but try us this other day. — ... I am e'en sick of 
 shame, that when your lordship this other day sent to me, I was so unfortunate a 
 beggar. — . . . Hegavemea jewel the other day, anAnovi he has he2.iilo\n oi my \ia.x.. 
 — Ibid., iii. 6. 
 
 / have heard in some sort of thy miseries. — 
 
 Thou saw'st them, when I had prosperity. — 
 
 I see them now ; then was a blessed time. — Ibid., iv. 3. 
 
 Thy flatterers yet wear silk, drink wine, lie soft ; 
 
 Hug their diseas'd perfumes, and have forgot 
 
 That ever Timon was. . . . 
 
 Where liest 0' nights, Timon ? — 
 
 Under that 's above me. — Ibid., iv. 3. 
 Have you forgot me, sir ? — 
 
 Why dost thou ask that ? / have forgot all men; 
 
 Then, if thou grant'st thou 'rt a man, I have forgot thee. — Ibid., iv. 3. 
 Does the rumour hold for true, that he is so full of gold ? — Certain ; Alcibiades 
 reports it ; Phrynia and Timandra had gold of him : he likewise enriched poor strag- 
 gling soldiers with great quantity. 'Tis said, he gave unto his steward a mighty 
 sum. — . . . You are honest men : you have heard that I have gold ; I am sure you 
 have: speak truth ; you are honest men. — So it is said, my noble lord. — Ibid., v. i. 
 
 O, forget 
 
 What we are sorry for ourselves in thee. 
 
 The senators with one consent of love 
 
 Entreat thee back to Athens. — Ibid., v. j.. 
 
 When thy first griefs were but a mere conceit. 
 
 Ere thou hadst power, or we had cause of fear. 
 
 We sent to thee. — ... So did we woo 
 
 Transformed Timon to our city's love 
 
 By humble message and by promis'd means : 
 . . . Nor are they living 
 
 Who were the motives that you first went out ; 
 
 Shame, that they wanted cunning in excess. 
 
 Hath broke their hearts. — Ibid., v. 5. 
 
 The Dramatic Time is managed so ingeniously by Shakespeare in 
 the play of " Juhus Cffisar," as to allow of long intervals elapsing 
 insensibly and gliding by almost unperceived. He has so contrived 
 
176 THE SHAKESPEARE KEY. 
 
 the indications of Short Time and Long Time to be blended, during 
 the progress of the first, second, and third acts, that we pass from the 
 period at which the drama opens — the Ides (or 13th) of Februar}', 
 when the feast of Lupercal was celebrated — to the Ides (or 15th) of 
 March, while we seem to have beheld but the transition of some few 
 hours. Similarly, during the fourth and fifth acts, the events that 
 followed upon the assassination of Julius Casar are made to succeed 
 each other with such imperceptible tokens of ever-advancing time, that 
 we find ourselves arrived at their close with no sense of undue length 
 in dramatic period. 
 
 By keeping well before the spectator the presence of night, super- 
 vening upon afternoon and evening, and then the gradual approach of 
 dawn, of morning, and of day, the dramatist has magically contrived 
 to bring on the date of Caesar's death in the third act, even while 
 linking it subtly with the very date on which the dictator was offered 
 and refused the crown of Rome in the first act ; so that a whole 
 month is illusorily passed, while but the passing from one day to the 
 next is actually accounted for. 
 
 These are the betokenings of Short Time : — 
 
 Hence ! home, you idle creatures get you home : 
 Is this a holiday ? What ! know you not, 
 Being mechanical, you ought not walk 
 Upon a labouring day without the sign 
 Of your profession ? . . . 
 
 But wherefore art thou not in thy shop to-day ? 
 Why dost thou lead these men about the streets ? — 
 . . . We make holiday, to see Cizsar, and to rejoice in his triumph. — . . 
 And do you now put on your best attire ? 
 And do you now cull out a holiday ? 
 And do you now strew flowers in his way, 
 That comes in triumph over Pompey's blood ? 
 Be gone ! Run to your houses . . . 
 You know it is the feast of Lupercal. — ^ul. C, i. i. 
 
 The games are done, and Ccesar is returning. — 
 
 As they pass by, pluck Casca by the sleeve ; 
 
 And he will, after his sour fashion, tell you 
 
 What hath proceeded worthy note to-day. — . . . 
 
 Ay, Casca; tell us what hath chanced to-day, . . . 
 Why, there was a crown offered him : and being oifered him, he put it by with the 
 back of his hand, thus ; and then the people fell a-shouting. — . . . Will you sup n-itk 
 me to-night, Casca ? — No, I am promised forth. — . . . For this time I will leave 
 you ... 
 
 ... J will this night, 
 
 In several hands, in at his window throw, 
 
 As if they came from several citizens. 
 
 Writings, all tending to the great opinion 
 
 That Rome holds of his name ; wherein obscurely 
 
 Caesar's ambition shall be glanced at. — Ibid., i. 2. 
 
 Good even, Casca, brought you Ccesar home ? 
 Why are you breathless ? and why stare you so ? — 
 
 . . . never till to-night, never till now. 
 Did I go through a tempest dropping fire. — . . . 
 Good night, then, Casca : this disturbed sky 
 Is not to walk in. — . . . Cassius, what night is this ! 
 A very pleasing night to honest men. — 
 
DRAMATIC TIME. 
 
 . . . I have walk'd about the streets, 
 Submitting me unto the perilous night, . . . 
 Now could I, Casca, name to thee a man 
 Most like this dreadful night, . . . 
 And I do know, by this, they stay for me 
 In Pompey's porch : for now, this fearful night. 
 There is no stir or walking in the streets. — . 
 
 . . . What a fearful night is this! — 
 . . . Take this paper, 
 A nd look you lay it in the pm tor's chair, 
 Where Brutus may but find it; and throw this 
 In at his window. — . . . Well, / will hie 
 And so bestow these papers as you bade me. — 
 That done, repair to Pompey's theatre. 
 Come, Casca, you and I will, yet, ere day, 
 Sec Brutus at his house. . . . Let us go. 
 For it is after midnight ; and, ere day. 
 We will awake him, and be sure of him. — jful. C, i. 3. 
 
 I cannot, by the progress of the stars, 
 
 Give guess how near to day. Lucius, I say ! 
 
 I would it were my fault to sleep so soundly. 
 
 Get me a taper in my study, Lucius : 
 
 When it is lighted, come and call me here. — . . 
 
 The taper burneth in your closet, sir. 
 
 Searching the window for a flint, I found 
 
 This paper, thus seal'd up ; and, I am sure. 
 
 It did not lie there when I went to bed. — 
 
 Get you to bed again ; it is not day. 
 
 Is not to-morrow, boy, the ides of March ? — 
 
 Sir, 'tis your brother Cassius at the door, 
 
 Who doth desire to see you. — 
 
 Is he alone ? — 
 No, sir, there are more with him. — . . . 
 
 . . . O conspiracy, 
 Sham'st thou to show thy dangerous brow by night. 
 When evils are most free ? — . . . 
 Good morrow, Brutus ; do we trouble you ? — 
 / have been up this hour ; awake, all night. — 
 . . . They are all welcome. 
 What watchful cares do interpose themselves 
 Betwixt your eyes and night? — 
 Shall I entreat a word ? — 
 
 Here lies the east : doth not the day break here ? — 
 No.— 
 
 0, pardon, sir, it doth; st.n6. yon grey lilies 
 That fret the clouds are messengers of day. — 
 
 . . . The clock hath stricken three. — 
 'Tis time to part. — 
 
 But it is doubtful yet, 
 Whether Casar will come forth to-day, or no : . 
 The unaccustomed terror of this night. 
 And the persuasion of his augurers, 
 iVIay hold him/?-o»! the Capitol to-day.— 
 Let me work ; 
 
 For I can give his humour the true bent. 
 And I will bring him to the Capitol. — 
 Nay, we will all of us be there to fetch him. — 
 By the eighth hour. — . . . 
 
 The morning comes upon us : we '11 leave you, Brutus. — 
 And so, good morrow to you.every one. . . . 
 Portia, what mean you ? Wherefore rise you now ? 
 
THE SHAKESPEARE KEY. 
 
 It is not for your health thus to commit 
 
 Your weak condition to the raw cold morning. — 
 
 Nor for yours neither. You Ve ungently, Brutus, 
 
 Stole from my bed : and yesternight, at supper. 
 
 You suddenly arose, and walk'd about. 
 
 Musing and sighing, with your arms across ; . . . — 
 
 . . . Good Portia, go to bed. — 
 Is Brutus sick, and is it physical 
 To walk unbraced, and suck up the humours 
 Of the dank morning } What, is Brutus sick. 
 And will he steal out of his wholesome bed, 
 To dare the vile contagion of the night, 
 
 . . . and what men to-night 
 Have had resort to you ; — . . . 
 Hark, hark ! one knocks : Portia, go in awhile ; 
 And by-and-by thy bosom shall partake 
 The secrets of my heart. . . . 
 Leave me with haste. — . . . 
 Vouchsafe good morrow from a feeble tongue. — 
 
 . . . What it is, my Caius, 
 / shall unfold to thee, as we are going 
 To whom it must be done. — 
 
 Set on your foot ; 
 And. with a heart new fir' d, I follow yon. 
 To do I know not what : but it sufficeth 
 That Brutus leads me on. — 
 
 Follow me, then. — yul. C, ii. i. 
 
 A'tir heaven 7ior earth have been at peace to-night : 
 
 Thrice hath Calphurnia in her sleep cried out, 
 
 " Help, ho ! They murder Caesar! " who 's within ? — 
 
 My lord.— 
 
 Go bid the priests do present sacrifice, 
 
 -And bring me their opinions of success. — 
 
 I will, my lord. — 
 
 What mean you, Caesar ? Think you to walk forth ? 
 
 You shall not stir out of your house to-day. — 
 
 . What say the augurers ? — 
 They would not have you to stir forth to-day. — . . 
 Cassar should be a beast without a heart. 
 If he should stay at home to-day for fear. — . 
 Do not go forth to-day. . . . 
 We '11 send Mark Antony to the senate-house ; 
 And he shall say you are not well to-day. — . . 
 Cssar, all hail ! Good morrow, worthy Caesar: 
 / come to fetch yon to the senate-house. — 
 And you are come in very happy time 
 To bear my greeting to the senators. 
 And tell them that / will not come to-day. . . . 
 Calphurnia here, my wife, stays me at home: 
 She dreamt to-night she saw my statua. 
 Which, like a fountain with a hundred spouts, 
 Did run pure blood . . . and on her knee 
 Hath begg'd that I will stay at home to-day. . 
 
 . . . The senate have concluded 
 To give, this day, a crown to mighty Casar. — . 
 How foolish do your fears seem now, Calphurnia ! 
 I am ashamed I did yield to them. 
 Give me my robe, for I will go : 
 •And look where Publius is come to fetch me. — 
 Good morrow, Caesar. — 
 
 Welcome, Publius. 
 
DRAMATIC TIME. 179 
 
 What, Brutus, arc yoti siirr'd so early too ? 
 Good morrow^ Casca. . . . 
 What is 't o'clock ? — 
 
 Caesar, 'tis strucken eight. — . . . 
 See ! Antony, that revels long 0' nights, 
 Is notwithstanding up. Good morrow, Antony. — 
 So to most noble Caesar. — 
 
 Bid them prepare within : 
 I am to blame to be thus waited for. 
 Now, Cinna : now, Metellus : what, Trebonius ! 
 I have an hour's talk in store for you ; 
 Remember that you call on me to-day. — jful. C, ii. 2. 
 
 Here will I stand till Ccesar pass along. 
 
 And as a suitor will I give him this. — Ibid., ii. 3. 
 
 I pr'ythee, boy, run to the senate-house ; 
 
 Stay not to answer me, but get thee gone. . . . 
 
 I would have had thee there, and here again. 
 
 Ere I can tell thee what thou shouldst do there, . , . 
 
 What is 't o'clock ? — 
 
 Aboztt the ninth hour, lady. — 
 Is Caesar yet gone to the Capitol ? — 
 Madam, not yet : I go to take my stand. 
 To see him pass on to the Capitol. . . . 
 Good morrow to you. Here the street is narrow : . 
 I '11 get me to a place more void, and there 
 Speak to great Caesar as he comes along. — . . . 
 Run, Lucius, and commend me to my lord ; 
 Say I am merry : come to me again. 
 And bring me word what he doth say to thee. — Ibid., ii. 4. 
 
 The ides of March are come. — 
 
 Ay, Caesar ; but not gone. — 
 
 Hail, Caesar ! Read this schedule. . . . 
 
 Delay not, Caesar ; read it instantly. — . . 
 
 I wish your enterprise to-day may thrive. — . . . 
 
 He wish'd to-day our enterprise might thrive. — . . . 
 
 Trebonius knows his time ; for, look you, Brutus, 
 
 He draws Mark Antony out of the way, — 
 
 Where is Metellus Cimber ? Let him go. 
 
 And presently prefer his suit to Caesar. — 
 
 He is address'd : press near and second him. — 
 
 Casca, jiO!( are the first that rears your hand. — 
 
 Are we all ready ? — . . . 
 
 Speak, hands, for me 1 — 
 
 Et tu. Brute? Then fall, Casar ! — Ibid., iii. i. 
 
 Here comes Antony. Welcome, Mark Antony. — 
 
 mighty Ccesar ! dost thou lie so low ? 
 
 Are all thy conquests, glories, triumphs, spoils. 
 Shrunk to this little measure ? Fare thee well. 
 
 1 know not, gentlemen, what you intend. 
 Who else must be let blood, who else is rank : 
 If I myself, there is no hour so fit 
 
 As Casar's death's hour. . . . 
 
 That 's all I seek : 
 And am moreover suitor that I may 
 Produce his body to the market-place ; 
 And in the pulpit, as becomes a friend, 
 Speak in the order of his funeral. — 
 You shall, Mark Antony. . . . 
 I will myself into the pulpit first. . . . 
 Prepare the body, then, and follow us. — . . . 
 
i8o THE SHAKESPEARE KEY. 
 
 You serve Octavius Caesar, do you not ? — 
 I do, Mark Antony. — 
 
 Caesar did write for him to come to Rome. — 
 He did receive his letters^ and is coming. — . 
 
 . . . Is thy master coming? — 
 He lies to-night within seven leagues of Rome. — 
 Post back with speed, and tell him what hath chanc'd. — Jul. C, iii. i. 
 
 The noble Brutus is ascended : silence ! . . . 
 I have done no more to Csesar, than you shall do to Brutus. The question of his 
 death is enrolled in the Capitol. . . . Here comes his body, mourned by Mark Antony. 
 . . . Friends, Romans, countrymen, lend me your ears ; / come to bury Ccesar, not to 
 praise him. . . . 
 
 But yesterday, the word of Ctesar might 
 
 Have stood against the world : now, lies he there. 
 
 And none so poor to do him reverence. . . . 
 
 But here '5 a parchment with the seal of Ccesar — 
 
 I found it in his closet — 'tis his will : 
 
 Let but the commons hear this testament. — . . 
 
 We 'II hear the will : read it, Mark Antony. — 
 
 The will, the will ! we will hear Casar's will. — . . . 
 
 Read the will ; we 'II hear it, Antony ; 
 
 You shall read us the will, Ccesar's will. — . . 
 
 The will! the testament! — 
 
 They were villains, murderers ; the will! read the will. — . . 
 
 Most noble Cassar ! we 'II revenge his death. — . . . 
 
 Now let it work : mischief, thou art afoot, 
 
 Take thou what course thou wilt. How now, fellow ! — 
 
 Sir, Octavius is already come to Rome. — 
 
 Where is he ? — 
 
 He and Lepidus are at Csesar's house. — 
 
 And thither will I straight to visit him : 
 
 He comes upon a wish. — . . . 
 
 I heard him say, Brutus and Cassius 
 
 Are rid like madmen through the gates of Rome. — Ibid., iii. 2. 
 
 / dreamt to-night that I did feast with Caesar. — . . 
 Answer every man directly. — Ay, and briefly. — 
 Proceed ; directly. — . . . Tear him, tear him ! 
 Come, brands, ho ! firebrands ! To Brutus', to Cassius' ; burn all : some to Decius' 
 house, and some to Casca's ; some to Ligarius' : away, go ! — Ibid., iii. 3. 
 
 These many, then, shall die ; their names are prick'd. — 
 
 . . . And now, Octavius, 
 Listen great things : Brutus and Cassius 
 Are levying pozaers : we must straight make head : 
 Therefore let our alliance be combin'd. 
 Our best friends made, and our best means stretch'd out ; 
 And let us presently go sit in council. — Ibid., iv. j. 
 Stand, ho !— 
 
 Give the word, ho ! and stand. — 
 What now, Lucilius ! is Cassius near ? — 
 He is at hand ; and Pindarus is come 
 To do you salutation from his master. — 
 ... if he be at hand, 
 I shall be satisfied. — 
 
 I do not doubt 
 But that my noble master will appear 
 Such as he is, full of regard and honour. — 
 
 . . . Comes his army on ? — 
 They mean this night in Sardis to be quarter'd; 
 The greater part, the horse in general. 
 Are come with Cassius. — 
 
DRAMATIC TIME. 
 
 Hark ! he is arrived : 
 March gently on to meet him. — yiil. C, iv. 2. 
 In sitch a time as this, it is not meet 
 That every. nice offence should bear his comment. — 
 
 . . . shall we now 
 Contaminate our fingers with base bribes, 
 And sell the mighty space of our large honours 
 For so much trash as may be grasped thus ? . . . 
 
 . . . from this day forth, 
 I '11 use you for my mirth. — Ibid., iv. 3. 
 Lucilius and Titinius, bid the commanders 
 Prepare to lodge their companies to-night. — 
 And come yoiirsel-ies, and bring Messala with you, 
 Immediately to us. — . . . 
 
 No man bears sorrow better. Portia is dead. — 
 Ha ! Portia. — 
 She is dead. — . . . 
 Now sit we close about this taper here. 
 And call in question our necessities. — . . 
 
 ... I have here received letters, 
 T\i3.t. young Octavius and Mark Antony 
 Come down upon us with a mighty pon'cr. 
 Bending their expedition toward Philippi. . . 
 Well, to our work alive. What do you think 
 Of marching to Philippi presently ? . . . 
 Our legions are brim-full, our cause is ripe. — . . 
 
 . . . Then, with your will, go 0:1 ; 
 We 'II along ourselves, and meet them at Philippi. 
 The deep of night is crept upon our talk. 
 And nature must obey necessity ; 
 Which we will niggard with a little rest. 
 There is no more to say ? — 
 
 No more. Good night ; 
 Early to-morrow will we rise, and hence. — 
 Lucius, my gown. Farewell, good Messala ; 
 Good night, Titinius: noble, noble Cassius, 
 Good night, and good repose. — 
 
 O my dear brother ! 
 This was an ill beginning of the night : . . . 
 Good night, my lord. — 
 
 Good night, good brother. — 
 Good night, lord Brutus. — . . . 
 
 . . . Gentle knave, good night ; 
 I will not do thee so much wrong to wake thee ; 
 If thou dost nod, thou break'st thy instrument ; 
 I '11 take it from thee ; and, good boy, good night. . . 
 Go and commend me to my brother Cassius ; 
 Bid him set on his powers betimes before. 
 And we will follow. — Ibid., iv. 3. 
 Now, Antony, our hopes are answered : 
 You said, the enemy would not come down, 
 But keep the hills and upper regions ; 
 It proves not so : their battles are at hand ; 
 They mean to warn us at Philippi here. 
 Answering before we do demand of them. — . . 
 . . . Prepare you, generals: 
 The enemy comes on in gallant show ; 
 Their bloody sign of battle is hung out. 
 And something to be done immediately. — . . . 
 Flatterers! Now, Brutus, thank yourself: 
 This tongue had not offended so to-day. 
 
iS2 THE SHAKESPEARE KEY. 
 
 If Cassius might have ruled. — . . . 
 
 Defiance, traitors, hurl wc in your teeth : 
 
 If you dare fight to-day, come to the field ; 
 
 If not, when you have stomachs. — 
 
 Why, now, blow 'wind, swell billow, and swim bark ! 
 
 The storm is up and all is on the hazard. . . . 
 
 This is my birthday ; as this very day 
 
 Was Cassius born. . . . 
 
 Coming from Sardis on our former ensign 
 
 Two mighty eagles fell ; and there they perch'd, 
 
 Gorging and feeding from our soldiers' hands; 
 
 Who to Philippi here escorted us : 
 
 This morning are they fied away and gone : . . . 
 
 . . . Now, most noble Brutus. 
 The gods to-day stand friendly, that we may, 
 Lovers in peace, lead on our days to age ! . . . 
 If we do lose this battle, then is this 
 The very last time we shall speak together : . . . — 
 
 . . . But this same day 
 Must end that work the ides of March begun 
 ... 0, that a man might know 
 The end of this day's business, ere it come ! 
 But it sufficeth, that the day will end. 
 And then the end is known. Come, ho ! away ! — ful. C, \. i. 
 
 Ride, ride, Messala, ride, and give these bills 
 
 Unto the legions on the other side : 
 
 Let them set on at once ; for I perceive 
 
 But cold demeanour in Octavius' wing, 
 
 And sudden push gives them the overthrow. 
 
 Ride, ride, Messala : let them all come down. — Ibid., \: 2. 
 
 Fly farther off, my lord, fly farther off ; 
 Mark Antony is in your tents, my lord : 
 Fly, therefore, noble Cassius, ^^/nr off. — . . . 
 Mount thou my horse, and hide thy spurs in him. 
 Till he have brought thee up to yonder troops. 
 And here again ; that I may rest assur'd 
 Whether yond' troops are friend or enemy. — 
 / will be here again, even with a thought. — . . . 
 This day I breathed first : time is come round. 
 And where I did begin, there I shall end ; 
 My life is run his compass. . . . 
 
 . . . Caesar, thou art rcveng'd. 
 Even with the sword that kill'd thee. — [Dies. 
 
 But Cassius is no more. setting sun. 
 As in thy red rays thou dost sink to-night. 
 So in his red blood Cassius' day is set : 
 The sun of Rome is set ! our day is gone. . 
 
 . . . Brutus, come apace. 
 And see how I regarded Caius Cassius. — . . . 
 
 . . . Lucilius, come : 
 A nd come, young Cato ; let us to the field : 
 Labeo and Flavins, set our battles on : 
 'Tis three o'clock : and, Romans, yet ere night 
 We shall try fortune in a second fight. — Ibid., v. 3. 
 
 Statilius show'd the torch-light ; but, my lord. 
 He came not back ; he is or ta'en or slain. — . . . 
 The ghost of Caesar hath appear'd to me 
 Two several times by night — at Sardis once. 
 And, this last night, here in Philippi fields : 
 I know my hour is come. . . . 
 
DRAMATIC TIME. 183 
 
 Our enemies have beat us to the pit : 
 
 It is more worthy to leap in ourselves, 
 
 Than tarry till they push us. . . . 
 
 I shall have glory by this losing day, 
 
 More than-Octavius and Mark Antony 
 
 By this vile conquest shall attain unto. 
 
 So, fare yon well at once ; for Brutus' tongue 
 
 Hath almost ended his life's history : 
 
 Night hangs upon mine eyes; my bones would rest. 
 
 That have but labour'd to attain this hour. . . . 
 
 Hold, then, my sword, and turn away thy face. 
 
 While I do run upon it. Wilt thou, Strato ? — 
 
 Give me your hand first : fare you well, my lord. — 
 
 Farewell, good Strato. Casar, now be still : 
 
 I kill'd not thee with half so good a will. — 
 
 \_Hc runs on his su'onl, a, id dies. 
 . . . Brutus only overcame himself, 
 And no man else hath honour by his death. — . . . 
 According to his virtue let us use him. 
 With all respect and rites of burial. 
 Within my tent his bones to-night shall lie. 
 Most like a soldier, order'd honourably. 
 So, call the field to rest: and let 's away. 
 To part the glories of this happy day. — yiil. C, v. 5. 
 
 And these are the betokenings of Long Time : — 
 
 Beware the ides of March. — 
 
 What man is that ? — 
 A soothsayer bids you beware the ides of March. — 
 Set him before me ; let me see his face. — 
 Fellow, come from the throng ; look upon Cssar. — 
 What say'st thou to me now ? speak once again. — 
 Beware the ides of March. — Ibid., i. 2. 
 
 What you have said, 
 I will consider ; what you have to say, 
 I will with patience hear ; and find a time 
 Both meet to hear and answer such high things. — Ibid., i. 2. 
 Will you dine with me to-morrow ? . . . 
 To-morrow, if you please to speak with me, 
 I will come home to you ; or, if you will. 
 Come home to me, and I will wait for you. — 
 I will do so: till then, think of the world. — Ibid., i. j. 
 Comes Caesar to the Capitol to-morrow ! — 
 He doth ; for he did bid Antonius 
 Send word to you, he would be there to-morrow. — 
 Indeed, they say, the senators to-morrow 
 Mean to establish Caesar as a king. — Ibid., i. 3. 
 Such instigations have been often dropp'd 
 Where I have took them up. — Ibid., ii. i. 
 You all did see that on the Lupercal 
 I thrice presented him a kingly crown. 
 Which he did thrice refuse : was this ambition ? 
 Yet Brutus says he was ambitious. — Ibid., iii. 2. 
 Let me tell you, Cassius, you yourself 
 Are much condemn'd to have an itching palm ; 
 To sell and mart your offices for gold 
 To undeservers. . . . 
 
 Remember March, the ides of March remember : 
 Did not great Julius bleed for justice' sake .' — . . . 
 
i34 THE SHAKESPEARE KEY. 
 
 When Casar liv'd, he durst not thus have mov'd me. — 
 
 . . . I did send to yoii 
 For certain sums of gold, which yon denied me ; 
 
 ... 7 did send 
 To yon for gold to pay my legions. 
 Which you denied me : was that done like CassiuP ? 
 Should I have answer'd Caius Cassius so ? — . 
 
 . . . I denied you not. — 
 You did. — 
 
 I did not : he was but a fool 
 That brought my answer back. — Jul. C, iv. 3. 
 The enemy increaseth every day. — Ibid., iv. 3. 
 Speak to me what thou art. — 
 
 Thy evil spirit, Brutus. — 
 Why com'st thou ? — 
 
 To tell thee thou shalt see me at Philippi. — 
 Well , then I shall see thee again ? — 
 
 Ay, at Philippi.— 
 Why, / will see thee at Philippi, then. — Ibid., iv. 3. 
 Villains, you did not so, when your vile daggers 
 Hack'd one another in the sides of Casar. — Ibid., v. 1. 
 
 Veiy artistically is the Dramatic Time in the tragedy of " Macbeth" 
 managed, so as to give the needful scope for naturallj' proceeding 
 events, and yet so as to bring them within the limits of a witnessed 
 performance. Especially noteworthy is the skilful mode in which the 
 time is treated during the second act ; when we pass from midnight, 
 through the dark hours of that darker deed, unto the approach of dawn, 
 the breaking of the morning, the advent of day and the discovery of 
 the murder that has been perpetrated — all gradually and most plau- 
 sibly brought on. Then, on the very heel of that event, are ushered 
 in fresh occurrences — the burial of the dead king, the flight of his 
 sons and natural successors, the investiture of the new monarch and 
 regicide — all anticipating and preparing for the troublous reign and 
 long period of national suffering that supervene : so that the mind 
 admits the apparently protracted time necessary for these, even while 
 witnessing but the lapse of three concluding dramatic acts. And first, 
 for the tokens of Brief Time : — 
 
 When shall we three meet again 
 In thunder, lightning, or in rain ? — 
 When the hurly-burly 's done. 
 When the battle 's lost and won. — 
 That will be ere the set of sun. — 
 Where the place ? — 
 
 Upon the heath. — 
 There to meet with Macbeth. — Macb., i. 1. 
 Who comes here ? — 
 
 The worthy thane of Rosse. — 
 What a haste looks through his eyes ! . . . 
 No more that thane of Cawdor shall deceive 
 Our bosom interest : go, pronounce his present death. 
 And with his former title greet Macbeth. — 
 I 'II see it done, — Ibid., i. 2. 
 A drum, a drum ! 
 Macbeth doth come. — . . . 
 So foul and fair a day I have not seen. . . . 
 
DRAMATIC TIME. 
 
 . . . Who 's here ?— 
 The king hath happily receiv'd, Macbeth, 
 The news of thy success. . . . As thick as tale. 
 Came post with post ; and every one did bear 
 Thy praises in his kingdom's great defence, 
 And pour'd them down before him. — 
 
 We are sent 
 To give thee, from our royal master, thanks ; — . . . 
 And, for an earnest of a greater honour. 
 He bade me, from him, call thee thane of Cawdor : — . . . 
 . . . Let us toward the king. 
 
 . . . Come, friends. — Macb., i. 3. 
 
 worthiest cousin ! . . . Welcome hither : 
 . . . From hence to Inverness, 
 And bind us farther to you. — . . . 
 / 'II be myself the harbinger, and make joyful 
 The hearing of my wife with your approach ; 
 So, humbly take my leave. . . . 
 
 . . . Let zis after him. 
 Whose care is gone before to bid us welcome. — Ibid., i. 4. 
 
 " Thev met me in the day of success ; and I have learned by the perfectest report. Lhe\' 
 have more in them than mortal knowledge. When I turn'd in desire to question 
 them farther, they made themselves air, into which they vanished. Whiles I stood 
 rapt in the wonder of it, came missives from the king, who all-hailed mc, ' Thane cf 
 Cawdor ' ; by which title, before, these weird sisters saluted me." . . . 
 Glamis thou art, and Cawdor; and shalt be 
 What thou art promised : . . . Hie thee hither. 
 That I may pour my spirits in thine ear ; — . . . 
 The king comes here to-night. — 
 
 Thou 'rt mad to say it : 
 Is not thy master with him ? who, wer 't so, 
 Would have inform'd for preparation. — ■ 
 So please you, it is true : our thane is coming : 
 One of my fellows had the speed of him ; 
 Who, almost dead for breath, had scarcely more 
 Than would make up his message. — . . . 
 
 . . . Great Glamis ! worthy Cawdor ! 
 Greater than both, by the aJl-hail hereafter ! 
 Thy letters have transported me beyond 
 This ignorant present, and I feel now 
 The future in the instant. — 
 
 My dearest love, 
 Duncan comes here to-night. — 
 
 And when goes hence ? — 
 To-morrow, as he purposes. — 
 
 O, never 
 Shall sun that morrow see I . . . 
 
 . . . He that 's coming 
 Must be provided for : and you shall ^iif 
 This night's great business into my despatch — Ibid., i. 5. 
 
 Where 's the thane of Cawdor ? 
 We cours'd him at the heels, and had a purpose 
 To be his purveyor : but he rides well ; 
 .And his great love, sharp as his spur, hath holp him 
 To his home before us. Fair and noble hostess. 
 We are your guest to-night — Ibid., i. 6. 
 
 If it were done when 'tis done, then 'twere well 
 
 It were done quickly. — . . . 
 
 He has almost supp'd ; why have you left the chamber ? 
 
iS6 THE SHAKESPEARE KEY. 
 
 . . . When Duncan is asleep 
 {Whereto the rather shall his day's hard journey 
 Soundly invite him), his two chamberlains 
 Will I with wine and wassail so convince. — . . . 
 
 ... 7 am settled, and bend up 
 Each corporal agent to this terrible feat. 
 Airay, and mock the time with fairest shots. — Macb.. i. 7. 
 
 How goes the night, boy ? — 
 
 The moon is down ; I have not heard the clock. — 
 
 And she goes down at twelve. — 
 
 / take 't, 'tis later, sir. — . . . 
 What, sir, Hoijycf ai r«f.^ The king's a-bcd. . . . 
 Go bid thy mistress, when my drink is ready, 
 She strike upon the bell. Get thee to bed . . . 
 
 . . . Now o'er the one half'^'orld 
 Nature seems dead, and wicked dreams abuse 
 The curtain'd sleep. . . . Thou sure and firm-set earth. 
 Hear not my steps, which way they walk, for fear 
 Thy very stones prate of my whereabout. 
 And take the present horror from the time. 
 Which now suits with it. Whiles I threat, he lives : 
 Words to the heat of deeds too eold breath gives. 
 I go, and it is done ; the bell invites me. 
 Hear it not, Duncan ; for it is a knell 
 That summons thee to heaven or to hell. — Ibid., ii. 1. 
 
 It was the owl that shriek'd, the fatal bellman. 
 Which gives the stcrn'st good-night. He is about it : 
 The doors are open. . . . — 
 / have done the deed. — . . . 
 
 . . . / hear a knocking 
 At the south entry : retire we to our chamber : 
 A little water clears us of this deed : . . . 
 Get on your night-gown, lest occasion call us, 
 And show us to be watchers. — . . . 
 Wake Duncan with thy knocking ! I would thou couldst ! — Ibid., ii. 2. 
 
 Here's a knocking, indeed! . . . Knock, knock ; never at quiet I What are you? . 
 Anon, anon ! I pray you, remember the porter. — 
 
 Was it so late, friend, ere you went to bed, tliat you do lie so late? — 'Faith, sir, n'e 
 were carousing till the second cock : . , . — I believe, drink gave thee the lie last night. 
 . . Is thy master stirring ? 
 
 Our knocking has awak'd him ; here he comes. — 
 Good morrow, noble sir. — 
 
 Good morrow, both. 
 Is the king stirring, worthy thane ? — 
 
 Not yet. — 
 He did command me to call timely on him : 
 I have almost slipp'd the hour. — . . . 
 Goes the king hence to-day ! — 
 
 He does : he did appoint so. — 
 The night has been unruly : . . . the obscure bird 
 Clamour'd the livelong night. — . . . 
 
 . . . 'T was a rough night, — . 
 Approach the chamber, and destroy your sight 
 \Vith a new Gorgon ; do not bid me speak ; 
 See, and then speak yourselves. Awake, awake ! — 
 
 . . . O Banquo, Banquo, 
 Our royal master 's murder'd ! — . . . 
 Had I but died an hour before this chance, 
 I had liv'd a blessed time ; (or, from this instant. 
 There 's nothing serious in mortality. . . . 
 
DRAMATIC TIME. 1S7 
 
 Your royal father's murder'd. — 
 
 O, by whom ? — 
 Those of his chamber, as it seem'd, had done't : . . — 
 O, yet I do repent me oi my fury, 
 That I did'kill them. — 
 
 Wherefore did you so ? — 
 Who can be wise, amaz'd, temperate, and furious. 
 Loyal and neutral, in a moment ? No man : 
 The expedition of my violent love 
 Out-run the pauser reason. . . . 
 
 . . . Let 's briefly put on manly readiness, 
 And meet i' the hall together. — . . . 
 
 . . . Let 's not consort with them : 
 . . . I HI to England. — 
 To Ireland, I : our separated fortune 
 Shall keep us both the safer : . . . — 
 
 , . . Therefore, to horse ; 
 And let us not be dainty of leave-taking, 
 But shift away. — Much., ii. 3. 
 
 I have seen 
 Hours dreadful, and things strange ; but this sore night 
 Hath trifled former knowings. — . . . 
 
 . . . by the clock 'tis day. 
 And yet dark night strangles the travelling lamp : 
 Is 't night's predominance, or the day's shame, 
 That darkness does the face of earth entomb, 
 When living light should kiss it ? — . . . 
 Is H known ivho did this more than bloody deed ? — . . , 
 Malcolm and Donalbain, the king's two sons. 
 Are stol'n away and fled ; which puts upon them 
 Suspicion of the deed. — . . . Then, 'tis most like. 
 The sovereignty will fall upon Macbeth. — 
 He is already nanCd ; and gone to Scone 
 To be invested. — 
 
 Where is Duncan's body ? — ■ 
 Carried to Colme-kill, 
 The sacred storehouse of his predecessors. 
 And guardian of their bones. — Ibid., ii. 4. 
 
 Thou hast it now — king, Cawdor, Glamis, all, 
 
 As the weird women promis'd. — . . . 
 
 To-night we hold a solemn supper, sir. 
 
 And I '11 request your presence. . . . 
 
 Ride you this afternoon P — 
 
 Ay, my good lord. — 
 
 We should have else desir'd your good advice, . . . 
 
 In this day's council ; . . . 
 
 Is 't far you ride ? — 
 
 As far, my lord, as will fill up the time 
 
 'Twixt this and supper : go not my horse the better, 
 
 I must become a borrower of the night 
 
 For a dark hour or twain. — 
 
 Fail not our feast. 
 . . . Hie you to horse: adieu. 
 Till you return at night. Goes Fleance with you ? — 
 Ay, my good lord : our time does call upon us. — 
 / wish your horses swift, and sure of foot ; 
 And so I do commend you to their backs. 
 Farewell. 
 
 Let every man be master of his time 
 Till seven at night ; to make society 
 The sweeter welcome, we will keep ourself 
 
i3S THE SHAKESPEARE KEY. 
 
 Till supper-time alone : while then, God be with you. — 
 
 . . . Within this hour, at most, 
 I will advise you where to plant yourselves ; 
 Acquaint you with the perfect spy o' the time, 
 The moment on 't ; for t must be done to-night, . . . 
 Fleance his son, that keeps him company, 
 Whose absence is no less material to me 
 Than is his father's, must embrace the fate 
 Of that dark hour. . . . 
 It is concluded ; Banquo, thy souVs flight. 
 If it find heaven, must find it out to-night. — ilacb., iii. i. 
 
 Is Banquo gone from court ? — 
 Ay, madam, but returns again to-night. — . . . 
 Gentle my lord, sleek o'er your rugged looks ; 
 'B^hrighx. 2iT\i)0w\ai\ among yoitr guests to-night. — . . 
 
 . . . Ere the bat hathfloii-n 
 His cloister' d flight ; ere, to black Hecate's summons. 
 The shard-borne beetle, with his drowsy hums. 
 Hath rung night's yawning peal, there shall be done 
 A deed of dreadful note. — . . . 
 
 . . . Come, seeling night. 
 Scarf up the tender eye of pitiful day ; 
 And with thy bloody and invisible hand 
 Cancel and tear to pieces that great bond 
 Which keeps me pale I Light thickens ; and the crou- 
 Hakes wing to the rooky wood : 
 Good things of day begin to droop and drowse ; 
 Whiles night's black agents to their preys do rouse. — Ibid., iii. 2. 
 
 The west yet glimmers with some streaks of day : 
 
 Now spurs the lated traveller apace. 
 
 To gain the timely inn; and near approaches 
 
 The subject of our watch. — , . . 
 
 It will be rain to-night. — 
 
 Let it come down. — 
 O. treachery ! Fly, good Fleance, fly, fly, fly ! 
 Thou may'st revenge. — Ibid., iii, 3. 
 You know your own degrees, sit down : at first 
 And last, the hearty welcome. — . . . 
 
 . . . There 's blood upon thy face. — 
 'Tis Banquo's, then. — 
 'Tis better thee without than he within. 
 Is he despatch'd ? — 
 My lord, liis throat is cut; that I did for him. 
 
 . . . Most royal sir, Fleance is 'scap'd. — 
 . . . At once, good night ; 
 Stand not upon the order of your going. 
 But go at once. — 
 
 Good night ; and better health 
 Attend his majesty ! — 
 
 A kind good night to all .' — 
 . . . What is the night ? — 
 Almost at odds with morning, which is which. — Ibid., iii. 4. 
 
 This night I '11 spend 
 Unto a dismal and a fatal end : 
 Great business must be wrought ere noon : . . 
 Hark ! I am call 'd ; my little spirit, see. 
 Sits in a foggy cloud, and stays for me. — 
 Come, let's make haste ; she'll soon be back again. — Ibid,, iii. 5. 
 
 Let this pernicious hour 
 Stand aye accursed in the calendar I 
 
DRAMATIC TIME. 
 
 Come in ! without there ! . . . 
 
 I did hear 
 The galloping of horse ; who was 't came by ? — 
 'Tis two or. three, my lord, that bring you word, 
 Macduff is fled to England. — . . . 
 Time, thou anticipate st my dread exploits : 
 The flighty purpose never is overtook. 
 Unless the deed go with it : from this moment, 
 The very firstlings of my heart shall be 
 The firstlings of my hand. And even now, 
 To crown my thoughts with acts, be it thought and done : 
 The castle of Macduff I will surprise ; 
 Seize upon Fife ; give to the edge o' the sword 
 His wife, his babes, and all unfortunate souls 
 That trace him in his line. No boasting like a fool ; 
 This deed I'll do before this purpose cool. — Macb., iv. x. 
 
 He has killed inc, mother : 
 Run away, I pray you ! — Ibid., iv. 2. 
 
 What I am truly. 
 Is thine, and my poor country's, to command : 
 Whither, indeed, before thy here-approach, 
 Old Siward. with ten thousand warlike men, 
 Already at a point, was setting forth : 
 Now we HI together. — . . . 
 When I came hither to transport the tidings. 
 Which I have heavily borne, there ran a rumour 
 Of many worthy fellows that were out; 
 Which was to my belief witness'd the rather, 
 Fer that / saw the tyrant's power a-foot : 
 Now is the time of help ; your eye in Scotland 
 Would create soldiers, make our women fight, 
 To doff their dire distresses. — 
 
 Be it their comfort. 
 We are coming thither : gracious England hath 
 Lent us good Siward and ten thousand men. — . 
 Your castle is surpris'd ; your wife and babes 
 Savagely slaughter'd. — . . . 
 
 . . . Gentle Heavens, 
 Cut short all intermission ; front to front. 
 Bring thou this fiend of Scotland and myself ; 
 Within my sword's length, set him ; if he 'scape. 
 Heaven forgive him too ! — 
 
 This tune goes manly. — 
 Come, go we to the king ; our power is ready ; 
 Our lack is nothing but our leave : Macbeth 
 Is ripe for shaking, and the powers above 
 Put on their instruments. — Ibid., iv. 3. 
 
 Lo you, here she comes ! This is her very guise ; and, upon my life, fast asleep. 
 Observe her; stand close. — . . . Will she go now to bed? — Directly. — . . Good 
 night. — . . . Good night, good doctor. — Ibid., v. i. 
 
 The English power is near, led on by Malcolm, 
 His uncle Siward, and the good Macduff: — . . 
 
 . . . Near Birnam wood 
 Shall we well meet them ; that way are they coming. — 
 
 . . . What does the tyrant ? — 
 Great Dunsinane he strongly fortifies : — , . 
 
 . . . Now does he feel 
 His secret murders sticking on his hands ; 
 Now minutely revolts upbraid his faith-breach : 
 Those he commands move only in command. 
 
iQo THE SHAKESPEARE KEY. 
 
 Nothing in love : now does he feci his title 
 Hang loose about him, like a giant's robe 
 Upon a dwarfish thief. — Macb., v. 2. 
 Give me my armour. — 
 
 'Tis not needed yet. — 
 / 'II put it on. 
 
 Send out more horses, skirr the country round ; 
 Hang those that talk of fear. Give me mine armour. . . . 
 Come, put mine armour on; give me my staff : 
 Seyton, send out. Doctor, the thanes fly from me. 
 Come, sir, despatch. . . . Pull 't off, I say. 
 
 . . . Bring it after me. — Ibid., v. 3. 
 Cousins, / hope the days are near at hand 
 That chambers will be safe. — 
 
 We doubt it nothing. — 
 What wood is this before us ? — 
 
 The wood of Birnam. — 
 . . . The time approaches. 
 That will with due decision make us know 
 What we shall say we have, and what we owe. . . . 
 Towards which, advance the war. — Ibid., v. 4. 
 
 The queen my lord is dead. — 
 
 She should have died hereafter ; 
 
 There would have been a time for such a word. 
 
 To-morrow, and to-morrow, and to-morrow. 
 
 Creeps in this petty pace from day to day. 
 
 To the last syllable of recorded time ; 
 
 And all our yesterdays have lighted fools 
 
 The way to dusty death. Out, out, brief candle ! 
 
 Life 's but a walking shadow ; a poor player. 
 
 That struts and frets his hour upon the stage. 
 
 And then is heard no more. . . . 
 
 Thou com'st to use thy tongue ; thy story, quickly. — 
 
 As I did stand my watch upon the hill, 
 
 I look'd toward Birnam, and anon, methought, 
 
 The wood began to move. — 
 
 Liar and slave ! — 
 Let me endure your wrath, if 't be not so: 
 Within this three mile may you see it coming ; 
 I say, a moving grove. — 
 
 . . and now a wood 
 Comes toward Dmisinane. Arm, arm, and out ! — Ibid.. \. 
 Do we but find the tyrant's power to-night. 
 Let us be beaten, if we cannot fight. — Ibid., v. 6. 
 They have tied me to a stake ; I cannot fly. 
 But, bear-like, I must fight the course. — . . . 
 This way, my lord ; the castle 's gently render a : 
 The tyrant's people on both sides do fight ; 
 The noble thanes do bravely in the war ; 
 The day almost itself professes yours. 
 And little is to do. — 
 
 So great a day as this is cheaply bought. — 
 Macduff is missing, and your noble son. — 
 Your son, my lord, has paid a soldier's debt ; . . . 
 . . . like a man he died. — 
 Then he is dead ? — 
 Ay, and brought off the field. — . . . 
 And so, God be with him ! Here comes viewer comfort, — 
 Hail, king ! for so thou art : behold, where stands 
 The usurper's cursed head : . . . — 
 
DRAMATIC TIME. iQi 
 
 So, thanks to all at once, and to each one. 
 
 Whom wc invite to see us cruwn'd at Scone. — Macb., v. 7. 
 
 And, secondly, for the tokens of Lengthened Time : — 
 / dreamt last night of the three weird sisters; 
 To you they have show'd some truth. — 
 
 I think not of them ; 
 Yet, when zi'e can entreat an hour to serve, 
 We "ixjould spend it in some words upon that business. 
 If yoit wuitld grant the time. — 
 
 At your kind'st leisure. — Ibid., 
 On Tuesday last, 
 A falcon, towering in her pride of place. 
 Was ly a mousing owl hawked at, and killed. — . . . 
 
 . . . Will you to Scone ? — 
 No, cousin, I 'II to Fife. — 
 
 Well, I will thither.— 
 Well, may you see things well done there. — Ibid., ii. 4. 
 We HI take to-morrow. . 
 We hear, our bloody cousins are bestowed 
 In England and in Ireland ; not confessing 
 Their cruel parricide, yf/ZzMo- their hearers 
 With strange invention : but of that to-morrow ; 
 When, therewithal, we shall have cause of state 
 Craving us jointly. . 
 
 . . . He chid the sisters, 
 When first they put the name of king upon me. 
 And bade them speak to him. . . . 
 Was it not yesterday we spoke together? — 
 It was, so please your highness. — . . . 
 I did so ; and went farther, which is now 
 Our point oi second meeting. — Ibid., iii. i. 
 But let the frame of things disjoint, 
 Both the worlds suffer. 
 Ere we will eat our meal in fear, and sleep 
 In the affliction of these terrible dreams 
 That shake us nightly. — Ibid., iii. 2. 
 There the grown serpent lies : the worm, that's fled. 
 Hath nature that in time will venom breedi 
 No teeth for the present. Get thee gone ; to-morrow 
 We 'II hear, ourselves, again. — . . . 
 This is the very painting of your fear ; 
 This is the air-drawn dagger, which, you said. 
 Led you to Duncan. — . . . 
 
 How say'st thou, that Macduff denies his person. 
 At our great bidding ? — 
 
 Did you send to him, sir ? — 
 I hear it by the way ; but I will send : 
 There 's not a one of them, but in his house 
 I keep a servant fee' d. I will to-morrow 
 (And betimes I will) to the weird sisters : 
 More shall they speak ; for now I am bent to know. 
 By the worst means, the worst. For mine own good. 
 All causes shall give way : / am in blood 
 Slept in so far, that, shotdd I wade no more. 
 Returning icere as tedious as go o'er : 
 Strange things I have in head, that will to hand ; 
 Which must be acted ere they may be scann'd. — Ibid., iii. 4. 
 How did you dare 
 
 To trade and traffic with Macbeth 
 
 In riddles and affairs of death ; 
 
ig2 THE SHAKESPEARE KEY. 
 
 And I, the mistress of your charms, 
 
 The close contriver of all harms, 
 
 Was never call'd to bear my part, 
 
 Or show the glory of our art ? . . . 
 
 But make amends now : get you gone, 
 
 And at the pit of Acheron 
 
 Meet me V the mornui^: thither he 
 
 Will come to know his destiny : 
 
 Your vessels and your spells provide. 
 
 Your charms, and every thing beside. — Macb., iii. 5. 
 
 My former speeches have but hit your thoughts. 
 
 Which can interpret farther : only, I sav. 
 
 Things have been strangely borne. Tl:c gracious Duncan 
 
 Was pitied of Macbeth : marry ^ he zc'as dcaii : 
 
 And the right-valiant Banquo ivalk'd too late ; 
 
 Whom, you may say, if 't please you, Fleance kill'd. 
 
 For Fleance fled ; . . . 
 
 But, peace ! for from broad words, and 'cause he fail'd 
 
 His presence at the tyrant's feast, / hear, 
 
 Macduff lives in disgrace : sir, can you tell 
 
 Where he bestows himself ? — 
 
 The son of Duncan, 
 From whom this tyrant holds the due of birth. 
 Lives in the English court ; and is received 
 Of the most pious Edward with such grace, 
 That the malevolence of fortune nothing 
 Takes from his high respect : thither Macduff 
 Is gone to pray the holy king, upon his aid 
 To wake Northumberland and warlike Siward : 
 That, by the help of these (with Him above 
 To ratify the work), we may again 
 Give to our tables meat, sleep to our nights ; 
 Free from our feasts and banquets bloody knives ; 
 Do faithful homage, and receive free honours ; 
 All which we pine for now : and this report 
 Hath so exasperate the king, that he 
 Prepares for some attempt of war. — 
 
 Sent he to Macduff' '^ 
 He did. — Ibid., iii. 6. 
 
 What had he done to make him fly the land ? — 
 You must have patience, madam. — 
 
 He had none : 
 His flight was madness. . . . 
 
 . . . to leave his wife, to leave his babes. 
 His mansion, and his titles, in a place 
 From whence himself does fly ? — . . . 
 
 ... for your husband, 
 He is noble, wise, judicious, and best knows 
 The fits 0' the season. I dare not speak much farther : 
 But cruel are the times, when we are traitors. 
 And do not know ourselves ; when we hold rumour 
 From what we fear, yet know not what we fear. 
 But float upon a wild and violent sea. 
 Each way and move. — Ibid., iv. 2. 
 
 Each new morn 
 New widows howl, new orphans cry : new sorrows 
 Strike heaven on the face, that it resounds 
 As if it felt with Scotland, and yell'd out 
 Like syllable of dolour. — 
 
DRAMATIC TIME. 193 
 
 What I believe, I '11 wail ; 
 What know, believe ; and what I can redress. 
 As I shall find the time to friend, I will. 
 What you have spoke, it may be so perchance. 
 This tyrant, whose sole name blisters our tongues, 
 Was once thought honest ; you have lov'd him well; 
 He hath not touch' d you yet, . , . 
 Why in that rawness left you wife and child 
 (Those precious motives, those strong knots of love) 
 Without leave-taking ? — . . . 
 
 . . . Bleed, bleed, poor country ! 
 Great tyranny, lay thou thy basis sure. 
 For goodness dares not check thee ! wear thou thy wrongs. 
 The title is affee/d ! — . . . 
 / think our country sinks beneath the yoke ; 
 It weeps, it bleeds ; and each new day a gash 
 Is added to her wounds : I think, withal. 
 There would be hands uplifted in my right ; 
 And here, from gracious England, have I offer 
 Of goodly thousands. — ■ . . . 
 
 . . . O nation miserable ! 
 With an untitled tyrant, bloody-sceptr'd. 
 When shall thou see thy wholesome days again. 
 Since that the truest issue of thy throne 
 By his own interdiction stands accurs'd, 
 And does blaspheme his breed ? — . . 
 
 . . . Devilish Macbeth 
 By many of these trains hath sought to win me 
 Into his power ; and modest wisdom plucks me 
 From Over-credulous haste. , 
 A most miraculous work in this good king: 
 Which often, since my here remain in England, 
 I have seen him do. — . . . 
 Stands Scotland where it did ? — 
 
 Alas, poor country, 
 Almost afraid to know itself J It cannot 
 Be caWd our mother, but our grave, where nothing, 
 But who knows nothing, is once seen to smile ; 
 Where sighs, and groans, and shrieks that rent the air. 
 Are made, not marked ; where violent sorrow seems 
 A modern ecstasy : the dead man's knell 
 Is there scarce ask'd for who ; and good men's lives 
 Expire before the flowers in their caps. 
 Dying or ere they sicken, — . . . 
 
 . . . What is the newest grief ? — 
 That of an hour's age doth hiss the speaker ; 
 Each minute teems a new one, — . . 
 . . . They were well at peace, when I did leave them, — Macb., iv. 3. 
 
 / have two nights watched with you, but can perceive no truth in your report. When 
 was it she last walked ? — Since his majesty went into the field, I have seen her rise from 
 her bed, throw her night-gown upon her, unlock her closet, take forth paper, fold it, write 
 upon it, read it, afterwards seal it, and again return to bed ; yet all this while in a most 
 fast sleep, — ... In this slumbery agitation, besides her walking and other actual per- 
 formances, what, at any time, have you heard her say ? , , , How came she by that 
 light ? — Why, it stood by her : she has light by her continually ; 'tis her command. 
 , . , It is an accustomed action with her, to seem thus washing her hands : I have 
 known her continue in this a quarter of an hour, — • . . . The Thane of Fife had a wife : 
 where is she now ? , , , I tell you yet again, Banquo 's buried ; he cannot come out 
 on's grave, — . . . Foul whisperings arc abroad : unnatural deeds do breed unnatur^jl 
 troubles, — Ibid,, v. x. 
 
194 T^HE SHAKESPEARE KEY. 
 
 I have liv'd long enough : my way of life 
 
 Is fallen into the sear, the yellow leaf; 
 
 And that which should accompany old age. 
 
 As honour, love, obedience, troops of friends. 
 
 I must not look to have ; but, in their stead. 
 
 Curses, not loud, but deep, mouth-honour, breath 
 
 Which the poor heart would fain deny, and dare not. — Macb.. \. 3. 
 
 We learn no other but the confident tyrant 
 
 Keeps still in Diinsinane, and will endure 
 
 Our setting down before 't. — Ibid., v. 4. 
 
 In "Hamlet" the Dramatic Time is very peculiarly treated, and 
 deserves particular investigation. Not only are there in this play 
 unusually numerous indications of Long Time, but the lapses of time 
 previous to the commencement of the drama itself are denoted with a 
 significance 'that require attention being paid to them as part of the 
 systematised timing therein marked. Witness, the allusions to the 
 occasions whereon the Ghost has appeared before to those who see it in 
 the first scene ; witness the references to the interval that has elapsed 
 since the death of Hamlet's father ; those to the period of the prince's 
 attachment to Ophelia ; those to his friendship for Horatio ; those to 
 his predilection for the players ; and those to his boyish affection towards 
 the court-jester Yorick, which latter point serves to confirm the dra- 
 matist's intimation of the age he intends his hero to be at the period of 
 the play. By way of counteracting a too protracted effect from these 
 many indications of Long Time, Shakespeare has not failed to accom- 
 pany most of them by subtle concomitant touches of speed; as for 
 instance, where he introduces the embassage to Norway, the departure 
 of Laertes to France, the sending Hamlet to England, he has taken 
 care to word them in such terms as shall convey the impression of swift 
 occurrence and rapidly passing events. Moreover, he has availed him- 
 self of the expedient of vagueness in stated period on more than one 
 occasion during this play; as, where Horatio and the officers on watch 
 are recounting the incident of the Ghost appearing to them : the former 
 saying it stayed "while one with moderate haste might tell a hundred," 
 and the two latter rejoining "Longer, longer." Likewise, where the 
 prince, Horatio, and the officers are awaiting the apparition, the brief 
 opening dialogue — "I think it lacks of twelve. — No, it is struck. — 
 Indeed? I heard it not" — serves at once to draw attention to the hour, 
 and yet leave it unprecisely decided. Also, where Hamlet, under shelter 
 of the incoherency natural to his assumed madness, alludes to his 
 father's death as having taken place "within these two hours;" and 
 replies to Ophelia's corrected statement of "Nay, 'tis twice two months, 
 my lord," by answering " O heavens ! die two months ago, and not 
 torgotten yet?" Then, too, by his own skilful mode of keeping per- 
 petually reiterated tokens of Present Time and Short Time well before 
 the mind, Shakespeare has effectually epitomised the incidents of even 
 this eventful drama into such bounds as shall seem those of feasibly 
 beheld transaction ; and here are collected the said tokens : — 
 
 You come most carefully upon your hour. — 
 
 T/s now struck tivelvc ; get thee to bed, Francisco. — 
 
 Well, good night. 
 
DRAMATIC TIME. 195 
 
 If you do meet Horatio and Marcellus, 
 
 The rivals of my watch, bid them make haste, — 
 
 / think I hear them. Stand, ho ! who is there ? — . . . 
 
 Give you good night. — . . . 
 
 What, has this thing appear'd again to-night ? . . 
 
 Therefore I have entreated him along 
 
 With us to watch the minutes of this night. . . , 
 
 Peace ! break thee off ; look, where it comes again ! — . . 
 
 What art thou, that usurp'st this time of night. . . . 
 
 Thus, twice before, ^.TiAjust at this dead hour. 
 
 With martial stalk hath he gone by our watch. — . . . 
 
 . . . Our last king. 
 Whose image even but noia appear'd to us. . . . 
 But, soft, behold I lo, where it comes again ! . . . 
 ' Tis gone. — • . . . 
 
 It was about to speak, when the cock crew. — 
 And then it started, like a guilty thing 
 Upon a fearful summons. I have heard, 
 The cock, that is the trumpet to the morn. 
 Doth with his lofty and shrill-sounding throat 
 Awake the god of day. — . . . 
 It faded on the crowing of the cock. — . . . 
 But, look, the morn, in russet mantle clad. 
 Walks o^er the dew of yon high eastern hill. 
 Break we our watch up : and, by my advice. 
 Let us impart what we have seen to-night 
 Unto young Hamlet. — . . . 
 Let 's do 't, I pray ; and I this morning know 
 Where we shall find him most conveniently. — Hamlet, i. 1. 
 Now for ourself, and for this time of meeting : 
 Thus much the business is : we have here writ 
 To Norway . . . and we here despatch 
 You, good Cornelius, and you, Voltimand, 
 For bearers of this greeting to old Norway;' . . . 
 Farewell; and let your haste commend your duty. . . . 
 Take thy fair hour, Laertes, time be thine, 
 And thy best graces spend it at thy will ! . . . 
 No jocund health that Denmark drinks to-day. 
 But the great cannon to the clouds shall tell ; — . . 
 . . . That it should come to this ! — 
 But two months dead! * nay, not so much, not two : 
 . . . and yet within a month. . . . 
 A little month ; or ere those shoes were old 
 With which she follow'd my poor father's body, 
 Like Niobe, all tears ; why she, even she — - 
 
 God ! a beast, that wants discourse of reason. 
 Would have mourned longer — married with mine uncle, 
 
 . . . within a month ; 
 Ere yet the salt of most unrighteous tears 
 Had left the flushing in her galled eyes. 
 She married. O, most wicked speed, to post 
 With such dexterity to incestuous sheets. — Ibid., i. 2. 
 
 1 am very glad to see you. Good even, sir . . . 
 But what is your affair in Elsinore ? — . . . 
 My lord, I came to see your father's funeral. — 
 I pray thee, do not mock me, fellow-student; 
 
 • Be it observed, that the indications of Short and Long Time are so blended, in 
 such passages as the above, that we have to enter them under both heads. Very 
 satisfactory proof, surely, that all this systematic duplicate marking of Dramatic Time 
 is thoroughly intentional on the part of our great author. 
 
 O 2 
 
196 THE SHAKESPEARE KEY. 
 
 I think, it was to see my motlier's wedding. — 
 Indeed, my lord, it followed hard upon. . . . 
 My lord, I think I saw him yesternight. — 
 Saw who? — 
 
 My lord, the king your father. — . . . 
 Hold you the watch to-night ? — 
 
 We do, my lord. — 
 . . . Stay'd it long ? — 
 While one with moderate haste might tell a hundrci'. — 
 Longer, longer. — • 
 Not when I saw it. — . . . 
 
 / will watch to-night ; . . 
 And whatsoever else shall hap to-night. 
 Give it an understanding, but no tongue ; 
 I will requite your loves. So, fare you well : 
 Upon the platform, 'twixt eleven and twelve, 
 I '11 visit you . . . 
 
 . . . Would the night were come ! — Hamlet, i. 2. 
 
 My necessaries are embark'd : farewell ; . . . 
 
 I stay too long: but here my father comes. — . . . 
 
 Yet here, Laertes ! aboard, aboard, for shame ! 
 
 The wind sits in the shoulder of your sail, 
 
 And you arc stay'd for. There, my blessing with you ! — . 
 
 Most humbly do I take my leave, my lord. — 
 
 The time invites you ; go, your servants tend. — Ibid., i. 3. 
 
 What hour now ? — 
 
 I think it lacks of twelve. — 
 No, it is struck. — 
 
 Indeed ? I heard it not : then it draws near the season 
 Wherein the spirit held his wont to walk. 
 What does this mean, my lord ? — 
 The king doth wake to-night, and takes his rouse. . 
 
 . . . Look, my lord ! it comes ! . 
 What may this mean. 
 That thou, dead corse, again, in complete steel. 
 Revisit'st thus the glimpses of the moon, 
 Making night hideous. — Ibid., i. 4. 
 
 My hour is almost come, 
 When I to sulphurous and tormenting flames 
 Must render up myself. . . . 
 But, soft ! methinks I scent the morning air ; 
 Brief let me be. . . . Fare thee well at once. 
 The glow-worm shows the matin to be near. 
 And 'gins to pale his uneffectual fire : 
 Adieu, adieu ! Hamlet, remember me. — . . . 
 Never make known what you have seen to-night. — Ibid., i. 
 My lord, as I was sewing in my chamber. 
 Lord Hamlet, with his doublet all unbrac'd ; 
 
 . . . he comes before me. 
 
 . . . that done, he lets me go : 
 And, with his head over his shoulder turn'd, 
 He seem'd to find his way without his eyes; 
 For out 0' doors lie went without their help. 
 And, to the last, bended their light on me. — 
 Come, go with me : I will go seek the king. 
 
 . . . That hath made him mad. — 
 
 . . . Come, go we to the king : 
 This must be known. — Ibid., ii. 1. 
 
 Welcome, dear Rosencrantz and Guildenstern ! 
 Moreover that we much did long to see you. 
 
DRAMATIC TIME. 197 
 
 The need we have to use you did provoke 
 
 Our hasty sending. — . . . 
 
 And I beseech you instantly to visit 
 
 My too much changed son. Go, some of you, 
 
 And bring these gentlemen where Hamlet is. — . . . 
 
 Th' embassadors from Norway, my good lord, 
 
 Are joyfully returned. — . . . 
 
 And I do think . . . that I have found 
 
 The very cause of Hamlet's lunacy. — 
 
 speak of that ; that do I long to hear.— 
 Give first admittance to th' embassadors : 
 
 My news shall be the fruit to that great feast. — 
 
 Thyself do grace to them, and bring them in. — . . 
 
 Go to your rest ; at night we 'II feast together : 
 
 Most welcome home. — Hamlet, ii. 2. 
 
 But. look, where sadly the poor wretch comes reading. — 
 
 Away, I do beseech you, both away : 
 
 1 'II board him presently. O, give me leave. 
 How does my good lord Hamlet ? — . . . 
 
 I will leave him, and suddenly contrive the means of meeting between him and my 
 daughter. . . . You go to seek the lord Hamlet ; there he is. — . . . How dost thou, 
 Guildenstern ? Ah, Rosencrantz ! Good lads, how do ye both ? . . - what have 
 you, my good friends, deserved at the hands of fortune, that she sends you to prison 
 hither ? . . But, in the beaten way of friendship, what make you at Elsinore ? . . . 
 I know the good king and queen have sent for you. — . . . We were sent for. . . . To 
 think, my lord, if you delight not in man, what lenten entertainment the players shall 
 receive from you : we coted them on the way ; and hither are they coming, to offer you 
 service. — . . . There are the players. — . . . The actors are come hither, ray \ori. — . . . 
 look, where my abridgement comes. You are welcome, masters; welcome, all; I am 
 glad to see thee well : welcome, good friends . . . we 'II have a speech straight : come, 
 give us a taste of your quality ; come, a passionate speech. . . . 'Tis well ; I '11 have 
 thee speak out the rest jooH. Gooimy Xoti, will you see the players well bestowed ? . . . 
 Take them in. — Come, sirs. — Follow that lord ; and look you mock him not. My good 
 friends, I'll leave you till to-night: you are welcome to Elsinore. . . . I'll have these 
 players play something like the murder of my father, before mine uncle ; I'll observe his 
 looks ; I'll tent him to the quick ; if he but blench, I know my course. — Ibid., ii. 2. 
 Did he receive you well ? — 
 
 Most like a gentleman. — • . . . 
 
 Madam, it so fell out, that certain players 
 
 We o'er-raiight on the way : of these we told him ; 
 
 And there did seem in him a kind of joy 
 
 To hear of it : they are about the court ; 
 
 And, as I think, they have already order 
 
 This night to play before him. — . . . 
 
 . . . we have closely sent for Hamlet hither. 
 
 That he, as 'twere by accident, may here 
 
 Affront Ophelia. — . . . 
 
 Ophelia, walk you here. Gracious, so please you, 
 
 We will bestow ourselves. . . . 
 
 I hear him coming : let's withdraw, my lord. — 
 . . . How now, Ophelia ! 
 
 Yon need not tell us what lord Hamlet said ; 
 
 We heard it all. My lord, do as you please ; 
 
 But, if you hold it fit, after the play. 
 
 Let his queen mother all alone entreat him 
 
 To show his grief: let her be round with him ; 
 
 And I'll be plac'd, so please you, in the ear 
 
 Of all their conference. — . . . It shall be so. — Ibid,, iii. 1. 
 How now, my lord ! will the king hear this piece of work ? — And the queen, too, and 
 that presently. — Bid the players make haste. Will you two help to hasten them ? — 
 We will, my lord. — What ho, Horatio ! — Here, sweet lord, at your service — ... 
 
ig8 THE SHAKESPEARE KEY. 
 
 There is a play to-night before the king. . . . They are coming to the play ; I must 
 be idle : get you u place . . . Be the players ready ? — Ay, my lord. — . . . The king 
 rises. — What, frighted with false fire I How fares my lord? — Give o'er the play. — 
 . . ..She desires to speak with you in her closet, ere you go to bed. — V\'e shall 
 obey, were she ten times our mother. — , . . My lord, the queen would speak with you, 
 and presently. — . . . Then will I come to my mother by -and-by. — . . . I will say so. — 
 By-and-by is easily said. Leave me, friends. 
 
 Tz's now the very witching time of night. 
 
 When churchyards yawn, and hell itself breathes out 
 
 Contagion to this world : now could I drink hot blood. 
 
 And do such bitter business as the day 
 
 Would quake to look on. Soft ! now to my mother. — Hamlet, iii. z. 
 
 My lord, he 's going to his mother's closet : 
 
 Behind the arras I '11 convey myself. 
 
 To hear the process ; . . . Fare you well, my liege : 
 
 I '11 call upon you ere you go to bed, 
 
 And tell you what I know. — . . . 
 
 Now might I do it pat, now he is praying ; 
 
 And now I HI do 't. — Ibid., iii. 3. 
 
 He will come straight. . . . I'll silence me e'en here. 
 
 Pray you, be round with him. — 
 
 Fear me not ; withdraw, / hear him coming. — 
 
 Now, mother, what 's the matter ? . . . 
 
 How now f a rat ? Dead, for a ducat, dead ! — 
 
 Oh, I am slain! — . . . 
 
 Why, look you there ! look, how it steals away ! 
 
 My father, in his habit as he liv'd ! 
 
 Look, where he goes, even now, out at the portal ! . . . 
 
 Good night : but go not to my uncle's bed ; 
 
 . , . Refrain to-night. . . . 
 . . . Once more, good night : 
 . . . For this same lord, 
 I do repent. . . . So again, good night. — Ibid., iii. 4. 
 
 Ah, my good lord, what have I seen to-night ! — 
 
 What, Gertrude ? How does Hamlet ? — 
 
 Mad as the sea and wind. — . . . Where is he gone .'— 
 
 To draw apart the body he hath kill'd : — . . . 
 
 The sun no sooner shall the mountains touch. 
 
 But we will ship him hence. . . . 
 
 Go seek him out ; speak fair, and bring the body 
 
 Into the chapel. I pray you, haste in this. 
 
 Come, Gertrude, we 'II call up our wisest friends ; 
 
 And let them know, both what ive mean to do, 
 
 And what's untimely done. — Ibid., iv. i. 
 
 / have sent to seek him, and to find the body. . . . Now, Hamlet, where 's Polonius? — 
 At supper. — At supper! Where? — Not where he eats, but where he is eaten: a 
 certain convocation of politic worms are e'en at him ... if you find him not within 
 this month, you shall nose him as you go upstairs into the lobby. — Go seek him there.— 
 He will stay till you come. — 
 
 Hamlet, this deed, for thine especial safety. — . . . 
 . . . must send thee hence 
 
 With fiery quickness: therefore prepare thyself; 
 
 The bark is ready, and the wind at help, 
 
 Th' associates tend, and everything is bent 
 
 For England. — . . . Come, for England ! — 
 
 Follow him at foot ; tempt him with speed aboard ; 
 
 Delay it not ; I'll have him hence to-night : 
 
 Away ; for everything is seal'd and done. 
 
 That else leans on th' affair : pray you, make haste. — Ibid., iv. 3. 
 
DRAMATIC TIME. iQg 
 
 So, captain, from me greet the Danish king ; 
 
 Tell him that, by his licence, Fortinbras 
 
 Claims the conveyance of a promised march 
 
 O'er his kingdom. You know the rendezvous. . . . 
 
 ' . . . Wiirt please you go, my \oTd? — 
 I'll be with you straight. Go a little before. 
 How all occasions do inform against me, 
 And spur my dull revenge ! — Hamlet, iv. 4. 
 
 I will not speak with her. — - 
 She is importunate ; indeed, distract: 
 Her mood will needs be pitied. — . . . 
 Let her come in. — . . . 
 Come, my coach I Good night, ladies ; good night, sweet ladies ; good night, good 
 nigh t. — 
 
 Follow her close ; give her good watch, I pray you. — • 
 
 . . . Save yourself, my lord : 
 The ocean, overpeering of his list, 
 Eats not the flats with more impetuous haste 
 Than young Laertes, in a riotous head, 
 O'erbears your officers. . . . 
 The doors are broke. — 
 Where is this king .^ — Ibid., iv. 5. 
 
 Nozv must your conscience my acquittance seal. . . . 
 . . . Letters, my lord, from Hamlet : — 
 . . . Laertes, you shall hear them. . . . 
 " High and mighty, you shall know / am set naked on your kingdom. To-morrow 
 shall I beg leave to see your kingly eyes ; when I shall, first asking your pardon there- 
 unto, recount the occasions of my sudden and more strange return.'' — . . . 
 . . . How now, sweet queen ! — 
 One woe doth tread upon another's heel. 
 So fast they follow : your sister's drown'd, Laertes. — Ibid., iv. 7. 
 
 Is she to be buried in Christian burial that wilfully seeks her own salvation ? — I '.ell 
 thee she is ; and therefore make her grave straight. — . . . 
 
 But soft ! but soft ! aside ; here comes the king. 
 
 The queen, the courtiers: who is that they follow 
 
 And with such maimed rites > . . . 
 
 . . . What! the fair Ophelia ! 
 . . . Dost thou come here to whine ? 
 
 To outface me with leaping in her grave ? 
 
 Be buried quick with her, and so will I. — . . . 
 
 I pray you, good Horatio, wait upon him. 
 
 Strengthen your patience in our last night's speech ; 
 
 We 'II put the matter to the present push. 
 
 Good Gertrude, set some w tch over your son. 
 
 This grave shall have a living monument ; 
 
 An hour of quiet shortly shall we see. — Ibid., v. i. 
 
 Your lordship is right welcome back to Denmark. . . . But, my lord, his maiestv 
 
 bade me signify to you, that he has laid a great wager on your head . . . here is }iczi-!'y 
 
 come to court Laertes ; . . . the king, sir, hath laid, that in a dozen passes between 
 
 yourself and him, he shall not exceed you three hits : he hath laid, on twelve for nme : 
 
 and it would come to immediate trial, if your lordship would vouchsafe the answer. 
 
 . . . Let the foils be brought, the gentleman willing, and the king hold his purpose. 
 I will win for him if I can. — . . . My lord, his majesty commended him to you bv 
 young Osric, who brings back to him, that you attend him in the hall: he sends to 
 
 know if your pleasure hold to play with Laertes, or that you will take Ioniser time. 
 
 / am constant to my purposes ; they follow the king's pleasure : if his fitness speaks. 
 mine is ready; now, or whensoever, provided I be so able as now. — The king and 
 queen and all are coming down. — In happy time. — . . , Give them the foils, young 
 
 Osric. . . . Come, begin; and you, the judges, bear a wary eye. — Come on, sir. 
 
 Come, my lord. — . . . They bleed on both sides. How is it, my lord. — How is it. 
 
THE SHAKESPEARE KEY. 
 
 Laertes ? — Why, as a woodcock to mine own springe, Osric ; / am justly killed with 
 mine oivn treachery. — How does the queen? — She swoons to see them bleed. — No, no. 
 the drink, the drink, — 0, my dear Hamlet! The drink, the drink ! / am poisoned. — 
 . . . The king, the king's to blame. — The point envenom'd too! — then, venom, to 
 thy-'d'ork. IStabs the king. — . . . 
 
 . . . Oh, I die, Horatio; 
 . . . The rest is silence. — [Dies. 
 
 Nov.' cracks a noble heart : good night, sweet prince; 
 
 And flights of angels sing thee to thy rest ! 
 
 Why does the drum come hither ? — 
 
 Where is this sight ? — 
 
 . . . The sight is dismal ; 
 
 And our affairs from England come too late : 
 
 The ears are senseless that should give us hearing, 
 
 To tell him his commandment is fulfilled. 
 
 That Rosencrantz and Guildenstern are dead : — . . . 
 
 But since, so jump upon this bloody question. 
 
 You from the Polack wars, and you from England, 
 
 Are here arriv'd. give order that these bodies 
 
 High on a stage be placed to the view ; 
 
 And let me speak to the yet unknowing world. 
 
 How these things came about. — . . . 
 
 . . . Let us haste to hear it. — Hamlet, v. 2. 
 
 While, on the other hand, here are the tokens of Long Time, which, 
 in this play, are so unusually numerous ; although at the same time, 
 as we have already observed, they are adroitly tinctured with marks of 
 transitoriness : — 
 
 Has this thing appear'd again to-night ? — 
 I have seen nothing. — 
 Horatio says 'tis but our fantasy. 
 And will not let belief take hold of him 
 Touching this dreaded sight, twice seen of us : . . . 
 ... if again this apparition come. — . . . 
 ... Sit down awhile ; 
 And let us once again assail your ears. 
 That are so fortified against our story, 
 What we two nights have seen. — 
 
 Well, sit we down 
 And let us hear Bernardo speak of this. — 
 Last night of all. 
 
 When yond' same star that 's westward from the pole 
 Had made his course to illume that part of heaven 
 Where now it burns, Marcellus and myself. 
 The bell then beating one, — . . . 
 Thus twice before, and just at this dead hour 
 With martial stalk hath he gone by our watch. — . 
 ... Sit down and tell me, he that knows. 
 Why this same strict and most observant watch 
 So nightly toils the subject of the land ; 
 And why such daily cast of brazen cannon. 
 And foreign mart for implements of war ; 
 Why such impress of shipwrights, whose sore task 
 Does not divide the Sunday from the week ; 
 What might be toward, that this sweaty haste 
 Doth make the night joint labourer with the day. — Ibid., i. 1. 
 
 We here despatch 
 You, good Cornelius, and you, Voltimand, 
 For bearers of this greeting to old Norway : . . . 
 What wouldst thou have, Laertes ? — 
 
DRAMATIC TIME. 
 
 My dread lord, 
 Your leave and favour to return to Finance ; 
 From whence though willingly I came to Denmark, 
 To show my duty in your coronation ; 
 Yet now, I must confess, that duty done. 
 My thoughts and wishes bend again toward France, 
 And bow them to your gracious leave and pardon. — 
 Have you your father's leave ? What says Polonius ? — 
 He hath, my lord, wrung from me my slow leave 
 By laboursome petition ; and, at last. 
 Upon his will I seal'd my hard consent : 
 I do beseech you, give him leave to go. — 
 Take thy fair hour, Laertes ; time be thine. 
 And thy best graces spend it at thy will I — Hamlet, i. 2. 
 
 But two months dead ! . . . 
 
 . . . and yet, within a month, . . 
 A little month. . . . within a month ; . . . 
 She married. — Ibid., i. 2. 
 
 And what make you from Wittenberg, Horatio ? 
 But whai, in lakh, make you from Wittenberg .^ . . . 
 We 11 teach you to drink deep ere you depart. — . . . 
 Two nights together had these gentlemen, 
 Marcellus and Bernardo, on their watch. 
 In the dead 'iast and middle of the night. 
 Been thus encounter'd. A figure like your father, 
 Arm'd at all points exactly, cap-a-pe, 
 Appears before them, and with solemn march 
 Goes slow and stately by them ; thrice he walk'd 
 By their oppress'd and fear-surprised eyes. 
 Within his truncheon's length ; whilst'they, distill'd 
 Almost to jelly with the act of fear. 
 Stand dumb, and speak not to him. This to me 
 In dreadful secrecy impart they did ; 
 And I with them the third night kept watch. — Ibid., i. 2. 
 And, sister, as the winds give benefit. 
 And convoy is assistant, do not sleep. 
 But let me hear from you. — Ibid., i. 3. 
 'Tis told me, he hath very oft of late 
 Given private time to yon ; and you yourself 
 Have of your audience been most free and bounteous : — 
 He hath, my lord, of late made many tenders 
 Of his affection to me. — . . . 
 
 . . . From this time, 
 Be somewhat scanter of your maiden presence. 
 Set your entreatmcnts at a higher rate 
 Than a command to parley. . . . 
 I would not, in plain terms, /rom this time forth. 
 Have you so slander any moment's leisure. 
 As to give words or talk with the lord Hamlet. — Ibid., i. 3. 
 
 But tell 
 Why thy canoniz'd bones, hears'd in death. 
 Have burst their cerements ; why the sepulchre, 
 Wherein we saw thee quietly inurn^d. 
 Hath op'd his ponderous and marble jaws, 
 To cast thee up again ! — Ibid., i. 4. 
 As I, perchance, hereafter shall think meet 
 To put an antic disposition on, 
 That you, at such times seeing me, never shall . , 
 
 . . . note 
 That you know aught of me. — Ibid., i. 5. 
 
THE SHAKESPEARE KEY. 
 
 Inquire me first what Danskcrs are in Paris ; 
 
 And how, and who, what means, and where they keep, 
 
 What company, at what expense ; and finding. 
 
 By this encompassment and drift of question, 
 
 That they do know my son, come you more nearer 
 
 Than your particular demands will touch it. . . . 
 
 He closes thus : " I know the gentleman ; 
 
 / saw him yesterday, or t' other day. 
 
 Or then, or then, with such, or such." — Hamlet, ii. i. 
 
 What, have yon given him any hard words of late ? — 
 No, my good lord ; but, as you did command, 
 I did repel his letters, and denied 
 His access to me. — Ibid., ii. i. 
 
 I entreat you both, 
 That, being of so young days brought up with him. 
 And since so neighbour'd to his youth and humour, 
 That yon vouchsafe your rest here in our court 
 Some little time : so by your companies 
 To draw him on to pleasures, and to gather. 
 So much as from occasion you may glean, 
 Whether aught, to us unknown, afflicts him thus. — 
 
 ... If it will please you 
 To show us so much gentry and goodwill. 
 As to expend your time with us awhile. 
 For the supply and profit of our hope. 
 Your visitation shall receive such thanks 
 As fits a king's remembrance. — Ibid., ii. z. 
 
 He sent out to suppress 
 His nephew's levies; which to him appear'd 
 To be a preparation 'gainst the Polack ; 
 But, better look'd into, he truly found 
 It was against your highness : whereat griev'd — 
 That so his sickness, age, and impotence. 
 Was falsely borne in hand — sends out arrests 
 On Fortinbras; which he, in brief obeys ; 
 Receives rebuke from Norway ; and in fine, 
 Makes vow before his uncle, never more 
 To give th' assay of arms against your majesty. — Ibid., ii. 2. 
 This, in obedience, hath my daughter shown me : 
 And more above, hath his solicitings. 
 As they fell out by time, by means and place. 
 All given to mine ear. . . . 
 
 . . . And then I precepts gave her, 
 That she should lock herself from his resort. 
 Admit no messengers, receive no tokens. 
 Which done, she took the fruits of my advice; 
 And he, repulsed (a short tale to make). 
 Fell into a sadness; then into a fast ; 
 Thence to a watch ; thence into a weakness; 
 Thence to a lightness; and by this declension. 
 Into the madness wherein now he raves, 
 And all we wail for. — . . . 
 
 You know, sometimes he walks four hours together 
 Here in the lobby. — 
 
 So he does, indeed. — 
 At such a time I'll loose my daughter to him : 
 Be you and I behind an arras then; 
 Mark the encounter. — Ibid., ii. 2. 
 
 How pregnant somcfimes his replies are !— . . . I have of late (but. wherefore I know 
 not) lost all my rnirth, forgone all custom of exercises. — Ibid., ii. 2. 
 
DRAMATIC TIME. 203 
 
 What players are they ? — Even those you were wont to take delight in, the tragedians 
 of the city. — How chances it they travel ? their residence, both in reputation and profit, 
 was better both ways. — I think, their inhibition comes by the means of the late innova- 
 tion. — T)o tiity ho\i. the same sititmLtion they did when I was in the city ? — . . . 'Faith, 
 there has been much to do on both sides ; and the nation holds it no sin to tarre them to 
 controversy : there was, for a while, no money bid for argument, unless the poet and 
 the player went to cuffs in the question. — ... It is not very strange; for my uncle is 
 king of Denmark, and those that would make mows at him while my father lived, give 
 t\venty, forty, fifty, a hundred ducats a-piece for his picture in little. . , . O, my old 
 friend ! Thy face is valanced since I saw thee last ; comest thou to beard me in 
 Denmark ? What ! my young lady and mistress ! By 'r lady, your ladyship is nearer 
 heciven, than when I saw you last, by the altitude of a chopine. Pray Heaven, your 
 voice, like a piece of uncurrent gold, be not cracked n-ithin the ring. . . . I heard thee 
 speak a speech once, but it was never acted ; or, if it was, not above once ; for the play, 
 I remember, pleased not the million; 'twas caviare to the general: but it was (as I 
 received it, and others, whose judgments in such matters cried in the top of mine) an 
 excellent play ; well digested in the scenes, set down with as much modesty as cunning. 
 / remember, one said. . . . one speech in it / chiefly loved . . . if it live in your 
 memory, begin at this line. — Hamlet, ii. 2. 
 
 We'll hear a play to-morrow. . . . We'll have it to-morrow night. — Ibid., ii. 2. 
 
 It cannot be 
 But I am pigeon-liver'd, and lack gall 
 To make oppression bitter ; or, ere this, 
 I should have fatted all the region kites 
 With this slave's offal. — Ibid., ii. 2. 
 
 How does your honour /or this many a day > — . . . 
 My lord, I have remembrances of yours. 
 That I have longed long to re-deliver ; 
 I pray you, now, receive them. — 
 
 No, not I ; 
 I never gave you aught. — 
 My honour'd lord, I know right well you did ; 
 And, with them, words of so sweet breath compos'd. 
 As made the things more rich ; their perfume lost. 
 Take these again ; for, to the noble mind. 
 Rich gifts wax poor tohe7t givers prove unkind. — . . . 
 . . . I did love you o«cc.— Indeed, my lord, j'ozi made me believe so. — You should 
 not have believed me. . . . I loved you not. — / was the more deceived. — 
 
 what a noble mind is here o'erthrown ! 
 
 The courtier's, soldier's, scholar's, eye, tongue, sword : 
 
 Th' expectancy and rose of the fair state. 
 
 The glass of fashion, and the mould of form, 
 
 Th' observ'd of all observers, quite, quite down ! 
 
 And I, of ladies most deject and wretched ; 
 
 That suck'd tlie honey of his music vows. 
 
 Now see that noble and most sovereign reason. 
 
 Like sweet bells jangled, out of tune and harsh ; 
 
 That unmatch'd form and feature of blown youth. 
 
 Blasted with ecstasy. O, woe is me ! 
 
 To have seen what I have seen, see what I see ! — Ibid., iii. i. 
 
 There 's something in his soul. 
 O'er which his melancholy sits on brood ; 
 And I do doubt, the hatch, and the disclose. 
 Will be some danger : which to prevent, 
 
 1 have in quick determination 
 
 Thus set it down : he shall with speed to England, 
 
 For the demand of our neglected tribute ; 
 
 Haply, the seas, and countries different, 
 
 With variable objects, shall expel 
 
 This something settled matter in his heart ; 
 
204 THE SHAKESPEARE KEY. 
 
 Whereon his brains still beating, puts him thus 
 From fashion of himself. What think you on 't ? — 
 It shall do well : but yet do I believe, 
 The origin and commencement of his grief 
 Sprung from neglected love . . ■ 
 
 . . . If she find him not, 
 To England send him. — Hamlet, iii. i. 
 
 Since my dear soul was mistress of her choice. 
 And could of men distinguish, her election 
 Hath seal'd thee for herself; for thou hast been 
 As one, in suffering all, that suffers nothing ; 
 A man that fortune's buffets and rewards 
 Hast ta'en with equal thanks. — Ibid., iii. ^. 
 
 Look you, how cheerfully my mother looks, and my father died within these two 
 hovirs. — Nay, 'tis twice two months, my lord. — So long ? Nay, then, let the devil wear 
 black, for I '11 have a suit of sables. O heavens ! die two months ago, and not forgotten 
 yet — Ibid., iii. ^. 
 
 Therefore prepare you ; 
 I your commission will forthwith despatch. 
 And he to England shall along with you : 
 The terms of our estate may not endure 
 Hazard so dangerous, as doth hourly grow 
 Out of his lunacies. — 
 
 We will ourselves provide. — . . . 
 Arm you, I pray you, to this speedy voyage. — Ibid., iii. 3. 
 
 Up, sword ; and know thou a more horrid hent : 
 
 When he is drunk, asleep, or in his rage. . . . 
 
 Tins physic but prolongs thy sickly days. — Ibid., iii. 3. 
 
 Do you not come your tardy son to chide. 
 That, laps'd in time and passion, lets go by 
 Th' important acting of your dread command ? 
 
 say !— 
 
 Do notforge't : this visitation 
 
 Is but to whet thy almost blunted purpose. — Ibid., iii. 4. 
 
 Refrain to-night ; 
 And that shall lend a kind of easiness 
 To the next abstinence : the next more easy ; 
 For use almost can change the stamp of nature. 
 And master the devil. . . . 
 / must to England ; you know that ? — 
 
 Alack, 
 
 1 had forgot : 'tis so concluded on. — 
 
 There 's letters sealed : and my two schoolfellows. 
 
 Whom I will trust as I will adders fang'd, 
 
 TJiey bear the mandate ; they must sweep my way, 
 
 .And marshal me to knavery. Let it work ; 
 
 For 'tis the sport, to have the engineer 
 
 Hoist with his own petar; and it shall go hard 
 
 But / will delve one yard below their mines 
 
 And blow them at the moon. — Ibid., iii. 4. 
 
 Alas, how shall this bloody deed be answer'd ? 
 
 It will be laid to us, whose providence 
 
 Should have kept short, rcstrain'd, and out of haunt. 
 
 This mad young man. — Ibid., iv. i. 
 
 How dangerous is it, that this man goes loose ! . . . 
 
 This sudden sending him away must seem 
 
 Deliberate pause : diseases, desperate groztin. 
 
 By desperate appliance are reliev'd. . . . 
 
 And, England, if my love thou hold'st at aught . . . 
 
DRAMATIC TIME. 
 
 . . . thou may'st not coldly set 
 Our sovereign process ; which imports at full, 
 By letters conjuring to that effect, 
 The present death of Hamlet. — Hamlet, iv. 3. 
 We go to gain a little patch of ground. — Ibid., iv. 4. 
 
 I do not know 
 Why yet I live to say, " This thing 's to do." — Ibid., iv. 4. 
 How long hath she been thus ? — . . . 
 . . . It springs 
 All from her father's death. . . . 
 
 . . . First, her father slain : 
 Next, your son gone ; and he most violent author 
 Of his own just remove : the people muddied. 
 Thick and unwholesome in their thoughts and whispers. 
 For good Polonius' death ; and we have done but greenly, 
 In hugger-mugger to inter him : poor Ophelia 
 Divided from herself and her fair judgment, . . . 
 Last, and as much containing as all these. 
 Her brother is in secret come from France ; 
 Feeds on his wonder, keeps himself in clouds. 
 And wants not buzzers to infect his ear 
 With pestilent speeches of his father' s death. — Ibid., iv. 5. 
 
 I would give you some violets, but they withered all when my father died. — Ibid., iv. 5. 
 
 What are they that would speak with me ? — Sailors, sir ; they say they have letters 
 for you. — Let them come in. I do not know from what part of the world I should be 
 greeted, if not from lord Hamlet. — . . . There 's a letter for you, sir ; it comes from the 
 embassador that was bound for England. — . . . " £;-« we were two days old at sea, a 
 pirate of very warlike appointment gave us chase. Finding ourselves too slow of sail, 
 we put on a compelled' valour : in the grapple I boarded them : on the instant they got 
 clear of our ship : so I alone became their prisoner. They have dealt with me like 
 thieves of mercy. . . . 'Rose^icra.ntz 3.ni GmlaensXern hold their course for England." — 
 Ibid., iv. 6. 
 
 You have been talk'd of since your travel much, 
 
 And that in Hamlet's hearing, for a quality 
 
 Wherein, they say, you shine. . . . 
 
 . . . Two months since, 
 
 Here was a gentleman of Normandy. — . . . 
 
 / know him well: . . . — 
 
 He made confession of you; 
 
 And gave you such a masterly report, 
 
 For art and exercise in your defence, 
 
 And for your rapier most especially. 
 
 That he cried out, 'twould be a sight indeed, 
 
 If one could match you. . . . 
 
 . . . this report of his 
 
 Did Hamlet so envenom with his envy. 
 
 That he could nothing do but wish and beg 
 
 Your sudden coming o'er, to play with you. . 
 
 Hamlet, returned, shall know you arc come home : 
 
 We 'II put on those shall praise your excellence, 
 
 And set a double varnish on the fame 
 
 The Frenchman gave you. . . . 
 
 . . . Let 's farther think of this ; 
 
 Weigh what convenience both of time and means 
 
 May fit us to our shape. — Ibid., iv. 7. 
 By the Lord, Horatio, these three years I have taken note of it. . . . How long hast 
 thou, been a grave-maker ?. — Of all the days i' the year. / came to 't that day our last 
 king Hamlet overcame Fortinbras.— How long is that since ? — . . . It was the vcrv 
 day that young Hamlet was born ; he that is mad. and sent into England. 
 I have been sexton here, man and boy, thirty years. — Ibid., v. i. 
 
2o6 THE SHAKESPEARE KEY. 
 
 This skull hath lain yon V the earth three and twenty years. — Whose was it ? — . . . 
 This same skull, sir, was Yorick's skull, the king's jester. — . . . Alas, poor Yorick ! 
 / knew him, Horatio : a fellow of infinite jest, of most excellent fancy: he hath borne 
 VIC on his back a thousand times ; and now, how abhorred in my imagination it is ! my 
 gorge rises at it. Here hung those lips, that I have kissed I know not how oft. 
 — Hamlet, v. i. 
 
 Now, the next day 
 Was our sea-fight ; and what to this was sequent 
 Thou know'st already. — Ibid., v. 2. 
 
 You will lose this wager, my lord. — I do not think so : since he went into France, I 
 have been in continual practice. — Ibid., v. 2. 
 
 The imagination is so impressed with that one single appalling 
 night of tempest, distress, and wrong, in the play of " King Lear," 
 that all other time seems merged in those few terrible hours ; neverthe- 
 less, the dramatist has so contrived the marking of the Dramatic Time 
 in this sublime tragedy as to afford space for the plausible advance of 
 its various incidents. By a few carefully introduced touches, for 
 instance, he lets the lapse of time be just sufficiently perceived to allow 
 natural progress from the opening of the play to the period when 
 Goneril's first outrage against her old father breaks out in the sug- 
 gested dismissal of part of his train of a hundred knights ; and, again. 
 from this point to the arrival of Lear at Gloster's castle. The former 
 is indicated by the old king's exclamation, " What 1 fifty of my 
 followers at a clap ! Within a fortnight ! " — while the latter is so 
 arranged as to be hurried on with the effect of rapid transit, and yet by 
 a passing, vaguely worded expression of Kent's a simultaneous illusory 
 effect of Longer Time is given, where he says to Oswald, " Is it two 
 days since I tripped up thy heels, and beat thee, before the king?'' 
 In the same ingenious way is a whole day suffered to elapse before the 
 very eyes of the audience, during the fourth scene of the second act, by 
 means of the artful introduction of such phrases as " the night before,'' 
 "to-night," "good morrow;" then the coming in of Cornwall and 
 Regan ; then the arrival of Goneril, followed by the cruel debate of the 
 two unnatural daughters as to how their father shall henceforth reside 
 with them, maimed of his faithful adherents ; and, lastly, the expres- 
 sions, "the night comes on," and " 'tis a wild night," which usher in 
 the one tremendous night which engrosses our chief attention ; so that 
 we find ourselves wafted from one night to the next without the 
 slightest shock to our sense of verisimilitude. Here follow the collec- 
 tion of Short Time denotements : — 
 
 We have this hour a constant will to publish 
 Our daughters' several dowers . . . 
 
 . . . Tell me, my daughters 
 (Since noza we will divest us, both of rule. 
 Interest of territory, cares of state). 
 Which of you, shall we say, doth love us most ? 
 That we our largest bounty may extend 
 Where nature doth with merit challenge. — Lear, i. i. 
 
 This is most strange. 
 That she, who even but now was your best obiect, 
 The argument of your praise, balm of your age. 
 The best, the dearest, should in this trice of time 
 
DRAMATIC TIME. 207 
 
 Commit a thing so monstrous, to dismantle 
 
 So many folds of favour. — Lear, i. i. 
 
 I think our father will hence to-night.— Ibid., i. 1. 
 
 Kent banish'd thus ! And France in choler parted ! 
 
 And the king gone to-night ! subscribed his power ! 
 
 Confin'd to exhibition ! All this done 
 
 Upon the gad ! — Ibid., i. ^. 
 I will place you where you shall hear us confer of this, and by an auricular 
 assurance have your satisfaction; and that without any farther delay than this very 
 evening. — Ibid., i. 2. 
 
 And let his knights have colder looks among you; 
 What grows of it, no matter ; advise your fellows so : 
 I would breed from hence occasions, and I shall. 
 That I may speak : / HI write straight to my sister. 
 To hold my course. Prepare for dinner, — Ibid., i. 3. 
 
 Let me not stay a jot for dinner ; go get it ready. How now ! what art thou ? . 
 Follow me ; thou shalt serve me : if I like thee no worse after dinner, I will not part 
 from thee yet. Dinner, ho, dinner ! . . . 
 
 What, have you writ that letter to my sister ? — 
 
 Ay, tnadam. — 
 
 Take you some company, and away to horse : 
 
 Inform her full of my particular fear; 
 
 And thereto add such reasons of your own. 
 
 As may compact it more. Get you gone ; 
 
 And hasten your return. — Ibid., i. 4. 
 Go you before to Gloster with these letters. Acquaint my daughter no farther with 
 anything you know than comes from her demand out of the letter. If your diligence 
 be not speedy, I shall be there before you. — I will not sleep, my lord, till I have delivered 
 your letter. — . . . Be my horses ready? — Thy asses are gone about 'em. — . . . How 
 now ! Are the horses ready ? — Ready, my lord. — Come, boy. — Ibid., i. 5. 
 
 / have been with your father, and given him notice that the Duke oT Cornwall and 
 Regan his duchess will be here with him to-night. — . . . 
 
 The duke be here to-night ? The better ! Best ! 
 ... sir, fly this place ; 
 
 Intelligence is given where you are hid ; 
 
 You have now the good advantage of the night : 
 
 Have you not spoken 'gainst the Duke of Cornwall ? 
 
 He 's coming hither; now, i' the night, i' the haste. 
 
 And Regan with him. — . . . 
 
 . . . The noble duke my master. 
 
 My worthy arch and patron, comes to-night : . . . 
 
 Hark, the duke's trumpets 1 I know not why he comes. 
 
 How now, my noble friend ! Since I came hither 
 
 [Which I can call but now) I have heard strange news. 
 
 Was he not companion with the riotous knio-hts 
 
 That tend upon my father ? . . . 
 
 I have this present evening from my sister 
 
 Been well inform'd of them. — . . . 
 
 You know not why we came to visit you, 
 
 Thus out of season, threading dark-cy'd ni<rht : 
 
 Our father he hath writ, so hath our sister, 
 
 Of differences, which I best thought it fit 
 
 To answer from our home ; the several messengers 
 
 From hence attend despatch. — Ibid., ii. i. 
 Good dawning to thee, friend : art of this house } ... Is it two days since I tripped 
 up thy heels, and beat thee, before the king ? . . . You come with letters against the 
 king. . . . The messengers from our sister and the king. . . . 
 
 It pleased the king, his master, very late. 
 
 To strike at me, upon his misconstruction ; 
 
2o8 THE SHAKESPEARE KEY. 
 
 When /w, compact, and flattering his displeasure, 
 Tripp' d me behind. — . . . 
 
 . . . Fetch forth the stoclis ! 
 As I have life and honour, there shall he sit till noon. — 
 Till noon! till night, my lord; and all night too. . . 
 Give you good-morrow I . . . 
 Approach, thou beacon to this under globe. 
 That by thy comfortable beams I may 
 Peruse this letter. . . . 
 
 . . . Fortune, good night. — Lear. ii. 2. 
 
 As I learn'd, 
 The night before there was no purpose then 
 Of this remove. — . . . 
 
 . . . My lord, when at their home 
 I did commend your highness'' letters to them, 
 ' Ere I was risen from the place that shotv'd 
 
 My duty kneeling, came there a reeking post. 
 Stew'd in his haste, half breathless, panting forth 
 From Goneril, his mistress, salutations ; 
 Deliver' d letters, spite of intermission. 
 Which presently they read : on whose contents. 
 They summon'd tip their meiny, straight took horse ; 
 Commanded me to follow. — . . . 
 
 Deny to speak with me ? They are sick ? they are weary ? 
 They have travell'd hard to-night ? Mere fetches; . . . 
 Go, tell the duke and 's wife I 'd speak with them. 
 Now, presently ; bid them come forth and hear me. 
 Or at their chamber-door I '11 beat the drum 
 Till it cry sleep to death. . . . 
 Good morrow to yon both. — . . . 
 
 . . . What trumpet 's that ?— 
 I know 't, my sister's : this approves her letter. 
 That she would soon be here. — . . . 
 The king is in high rage. — 
 
 Whither is he going ? — 
 He calls to horse ; but will I know not whither. . . 
 Alack, the night comes on, and the bleak winds 
 Do sorely ruffle ; for many miles about 
 There 's scarce a bush. — . . . 
 Shut up your doors, my lord ; 'tis a wild night. — Ibid., ii. 4. 
 
 This night, wherein the cub-drawn bear would crouch, 
 The lion and the belly-pinched wolf 
 Keep their fur dry, unbonneted he runs. 
 And bids what will take all. — Ibid., iii. i. 
 
 Good nuncle, in ; and ask thy daughters' blessing: here's a night pities neither 7:'isi 
 men nor fools. — , . . 
 
 Alas ! sir, are you here ? things that love night. 
 Love not siich nights as these : the wrathful skies 
 Gallow the very wanderers of the dark, 
 And make them keep their caves . . . 
 
 . . . Alack, bare-headed ! 
 Gracious my lord, hard by here is a hovel ; 
 Some friendship will it lend you 'gainst the tempest ; 
 Repose you there ; — . . . 
 
 . . . Come, bring us to this hovel. — Ibid., iii. z. 
 I have received a letter this night ; 'tis dangerous to be spoken; I have locked the 
 letter in my closet ... we must incline to the king: / -^■ill seek him, and privilv 
 relieve him : . . . 
 
 This courtesy, forbid thee, shall the duke 
 Instantly know ; and of that letter too. — Ibid., iii. 3. 
 
DRAMATIC TIME. iog 
 
 Here is the f lace, my lord; good my lord, enter: 
 
 The tyranny of the open night's too rough 
 
 For nature to endure. — . . . 
 
 In such a night 
 
 To shut me out ! Pour on, I will endure ; — 
 
 In such a night as this ! . . 
 This cold night will turn us all to fools and madmen. — . . . 'Tis a naugliiy night 
 to swim in. — . . . This is the foul fiend Flibbertigibbet: he begins at ciirfcv. and 
 walks till the first cock. — ... 
 
 Though their injunction be to bar my doors, 
 
 And let this tyrannous night take hold upon you, 
 
 Yet have I ventur'd to come seek you out, 
 
 And bring you where both fire and food is ready. . . , 
 . I had a son, 
 
 Now outlaw' d from my blood ; he sought my life. 
 
 But lately, very late ; I lov'd him, friend. 
 
 No father his son dearer ; true to tell thee, 
 
 The grief hath craz'd my wits. What a night's this! — Lear. iii. 4. 
 
 I will have my revenge, ere I depart his house. — Ibid., iii. 5. 
 Here is better than the open air ; take it thankfully. I will piece out the comfort 
 with what addition I can: I will not be long from you. — Now, good my lord, lie hcyc, 
 and rest azahile. — Make no noise, make no noise; draw the curtains: so, so, so: ;;■<■ 'II 
 go to supper i' the morning : so, so, so. — . . . 
 
 I have o'erheard a plot of death upon him : 
 
 There is a litter ready : lay him in 't, 
 
 And drive towards Dover, friend, where thou shalt meet 
 
 Both welcome and protection. Take up thy master: 
 
 If thou shouldst dally half an hour, his life. 
 
 With thine, and all that offer to defend him. 
 
 Stand in assured loss: take up, take up ; 
 
 And follow me, that will to some provision 
 
 Give thee quick conduct. — . . . 
 
 What will hap more to-night, safe 'scape the king! — Ibid., iii. 6. 
 
 Post speedily to my lord your husband ; show him this letter: the army of France is 
 landed. Seek out the traitor Gloster. — Hang him instantly. — Pluck out his eves. — 
 . . . Advise the duke, where you are going, to a most festinate preparation : we are 
 bound to the like. Our posts shall be swift and intelligent betwixt us. Fareu'ell. dc .:>■ 
 sister ; farez^'cll, my lord of Gloster. How now! where 's the king ? — 
 
 My lord of Gloster hath convey'd him hence : 
 
 Some five or six and thirty of his knights, 
 
 Hot questrists after hint, met him at gate ; 
 
 Who, with some other of the lord's dependants, 
 
 Are gone with him toward Dover. . . . 
 
 . . . Get horses for your mistress. . . . 
 
 Come, sir, what letters had you late from France ? 
 
 And what confederacy have you with the traitors 
 
 Late footed in the kingdom ? — 
 
 To whose hands have you sent the lunatic king ? 
 
 Speak. — . . . 
 
 The sea, with such a storm as his bare head 
 
 In hell-black night endured, would have buoy'd up. 
 
 And quench'd the stelled fires : 
 
 Yet, poor old heart, he holp the heavens to rain. — . . . 
 
 / have receiv'd a hurt : follow me, lady. 
 
 Turn out that eyeless villain ; throw this slave 
 
 Upon the dunghill. Regan, I bleed apace : 
 
 Untimely comes this hurt : give me your arm. — Ibid., iii. 7. 
 
 /' the last night's storm I such a fellow saw ; 
 
 Which made me think a man a worm. — Ibid., iv. i. 
 
 Well, sir, the poor distress'd Lear 's in the town. — Ibid., i\. i. 
 
THE SHAKESPEARE KEY. 
 
 Alack, 'tis he ; why, he was met even now 
 As mad as the vex'd sea. . . . 
 
 ... A century send forth ; 
 Search every acre in the high-grown field. 
 And bring him to our eye . . . seek, seek for him; . . . 
 
 . . . News, madam ; 
 The British powers are marching hitherward. — 
 Tjj hw'j;n before ; our preparation stands 
 In expectation of them. — Lear, iv. 4. 
 'Tis time to look about ; the powers of the kingdom approach apace. — The arbitrement 
 is like to be bloody. Fare you well, sir. — My point and period will be throughly 
 wrought, or well or ill, as this day's battle 's fought. — Ibid., iv. 7. 
 Sir, you have shown to-day your valiant strain. 
 And fortune led you well : you have the captives 
 Who were the opposites of this day's strife : — . . . 
 . . . Sir, / thought it fit 
 To send the old and miserable king 
 To some retention, and appointed guard ; 
 
 . . . With him I sent the queen. — Ibid., v. 3. 
 Never (O fault !) reveal'd myself unto him. 
 Until some half-hour past, when I was arm'd. — Ibid., v. 3. 
 I pant for life : some good I mean to do. 
 Despite of mine own nature. Quickly send — 
 Be brief in it — to the castle ; for my writ 
 Is on the life of Lear, and on Cordelia : 
 Nay, send in time. — 
 
 Run, run, oh, run ! . . . 
 . . . Haste thee, for thy life. — 
 . . . She 's gone for ever ! 
 I know when one is dead, and when one lives ; 
 She 's dead as earth. — . . . 
 
 . . . Look on her — look — her lips — • 
 Look there, look there ! — [Dies.] — Ibid., v. 3. 
 
 And here follow the collection of Long Time denotements : — 
 Ourself, by monthly course. 
 
 With reservation of a hundred knights, 
 
 By you to be sustain'd, shall our abode 
 
 Make with you by due turns. — Ibid., i. x. 
 
 Five days we do allot thee, for provision 
 
 To shield thee from diseases of the world ; 
 
 And, on the sixth, to turn thy hated back 
 
 Upon our kingdom : if on the tenth day following 
 
 Thy banish'd trunk be found in our dominions. 
 
 The moment is thy death. . . . 
 
 Time shall unfold what plighted cunning hides : 
 
 Who cover faults, at last shame them derides. 
 
 Well may you prosper ! — . . . 
 I think our father will hence to-night. — That 's most certain, and with you ; next 
 month with us. — Ibid., i. 1. 
 
 I am thinking, brother, of a prediction I read the other day, what should follow these 
 eclipses. . . . Come, come, when saw you my father last ? — The night gone by. — Spake 
 you with him ? — Ay, two hours together. — . . . Bethink yourself, wherein you may 
 have offended him : and at my entreaty forbear his presence till some little time hath 
 qualified the heat of his displeasure. — Ibid., i. 2. 
 
 By day and night he wrongs me ; every hour 
 
 He flashes into one gross crime or other, 
 
 That sets us all at odds : I '11 not endure it : 
 
 His knights grow riotous, and himself upbraids us 
 
 On every trifle. — lUd., i. 3. 
 
DRAMATIC TIME. 
 
 I have perceived a most faint neglect of late ; which I have rather blamed as mine 
 own jealous curiosity, than as a very pretence and purpose of unkindness : I will look 
 farther into 't. But where 's my fool ? I have not seen him this two days. — Since my 
 young lady's going into France, sir, the fool hath much pined away, — . . . When were 
 you wont to be so full of songs, sirrah ? — I have used it, nuncle, ever since thou madest 
 thy daughters thy mothers. — . . . How now, daughter ! what makes that frontlet on ? 
 Methinks you are too much of late i' the frown. — . . . 
 
 Not only, sir, this your all-licens'd fool. 
 
 But other of your insolent retinue 
 
 Do hourly carp and quarrel ; breaking forth 
 
 In rank and not-to-be-endured riots. . . . 
 
 I would you would make use of your good wisdom, 
 
 Whereof I know you are fraught ; and put away 
 
 These dispositions, which of late transform you 
 
 From what you rightly are. . . . 
 
 This admiration, sir, is much o' the favour 
 
 Of other your tictv pranks. — . . . 
 
 What ! fifty of my followers at a clap ! 
 
 Within a fortnight ! — Lear, i. 4. 
 
 Have you heard of no likely u'ars toward, 'twixt the dukes of Cornwall and Albany .' 
 — Not a word. — You may, then, in time. — Ibid., ii. i. 
 
 Thy half o' the kingdom hast thou not forgot. 
 
 Wherein I thee endow'd. — . . . 
 
 If, till the expiration of your month. 
 
 You will return and sojourn with my sister, 
 
 Dismissing half your train, come then to me. — Ibid., ii. 4. 
 
 What hath been seen. 
 Either in snuffs and packings of the dukes ; 
 Or the hard rein which both of them have borne 
 Against the old kind king ; or something deeper, 
 Whereof perchance these are but furnishings; 
 But, true it is. from France there comes a power 
 Into this scattered kingdom ; who already, 
 Wise in our negligence, have secret feet 
 In some of our best ports, and are at point 
 To show their open banner. Now to you : 
 If on my credit you dare build so far 
 To make your speed to Dover, you shall find 
 Some that will thank you, making just report 
 Of how unnatural and bemadding sorrow 
 The king hath cause to plain. — Ibid., iii. 1. 
 
 These injuries the king now bears will he revenged home ; there is part of a power 
 already footed. — Ibid., iii. 3. 
 
 There is a litter ready ; lay him in 't. 
 And drive towards Dover, friend, where thou shall meet 
 Both welcome and protection. — Ibid., iii. 6. 
 Go thrust him out at gates, and let him smell his way to Dover, 
 Let 's follow the old earl, and get the Bedlam 
 To lead him where he would. — Ibid., iii. 7. 
 If, for my sake. 
 Thou wilt o'ertake us, hence a mile or twain, 
 r the way toward Dover, do it for ancient love ; 
 And bring some covering for this naked soul, 
 Whom I '11 entreat to lead me. . . . 
 Know'st thou the way to Dover? — Both stile and gate, horseway and footpath. . . 
 Dost thou know Dover ? — Ay, master. — 
 
 There is a cliff, whose high and bending head 
 Looks fearfully in the confined deep : 
 Bring me but to the very brim of it, 
 
 P 2 
 
THE SHAKESPEARE KEY. 
 
 And I '11 repair the misery thou dost bear, 
 With something rich about me ; from that place 
 I shall no leading need. — 
 
 Give me thy arm : 
 Poor Tom shall lead thee. — Lear, iv. i. 
 
 Welcome, my lord : I marvel our mild husband 
 
 Not met us on the way. Now, where 's your master ? — 
 
 Madam, within ; but never man so ehang'd. 
 
 I told him of the army that zuas landed ; 
 
 He smil'd at it ; I told him you were coming ; 
 
 His answer was, " The worse " ; of Glostcr's treachery, 
 
 And of the loyal service of his son. 
 
 When I inform'd him, then he call'd me sot. 
 
 And told me I had turn'd the wrong side out : 
 
 What most he should dislike, seems pleasant to him ; 
 
 What like, offensive. — . . . 
 
 . . . Back, Edmund, to my brother ; 
 
 Hasten his musters, and conduct his powers : 
 
 I must change arms at home, and give the distaff 
 
 Into my husband's hands. This trusty ser\-ant 
 
 Shall pass between us ; ere long yon are like to hear, 
 
 If you dare venture in your own behalf, 
 
 A mistresses command. . 
 
 France spreads his banners in our noiseless land ; 
 
 With plumed helm thy slayer begins threats. — Ibid., iv. 2. 
 Why the King of France is so suddenly gone back, know you the reason ? — 
 
 Something he left imperfect in ;' •• state. 
 
 Which since his coming forth .0 tliought of ; which 
 
 Imports to the kingdom so much fear and danger. 
 
 That his personal return was most requir'd 
 
 And necessary. — 
 
 Whom hath he left behind him general? — Ibid., iv. 3. 
 
 Our troops set forth to-morrow : stay with us; 
 
 The ways are dangerous. — Ibid., iv. 5. 
 When the rain came to wet me once, and the wind to make me chatter; when the 
 thunder would not peace at my bidding ; there I found them, there I smelt them out. — 
 Ibid., iv. 5. 
 
 Be better fuited: 
 
 These weeds are memories of those worser hours ; 
 
 I pr'ythee, put them off. — Ibid., iv. 7. 
 
 All the skill I have 
 Remembers not these garments ; nor / know not 
 Where I did lodge last night, — Ibid., iv. 7. 
 
 Shakespeare has, in his supreme tragedy of " Othello," given 
 perhaps the most noted instance of his peculiar system of Dramatic 
 Time. In conformity with the requisites of succinct dramatic repre- 
 sentation, which demand that such brief period should appear as ma}' 
 be naturally beheld at one sitting, and in conformity with the hurry of 
 passion and rapid action suitable to the subject here treated, he has 
 given the effect of but one afternoon, night, next day, between the 
 arrival in Cyprus and the murder of Desdemona ; but, concomitantly, 
 in order to satisfy the mind, which requires a certain lapse of time from 
 the bridal unto the conviction of broken wedded faith, the poet has 
 given an illusor}' impression of a much longer space between the arrival 
 in Cyprus and the fulfilment of Othello's vengeance. Traced minutely, 
 we find but a few hours actually accounted for ; yet, traced minutely, we 
 
DRAMATIC TIME. 213 
 
 likewise find hints of lengthened sojourn and successive event, which 
 imply not only many hours, but many days and weeks. So occultly 
 is this managed by the author, that the apparent inconsistency puzzled 
 his earlier commentators, and subjected him to their accusation of 
 forgetfulness, oversight, discrepancy, neglect of rules, indifference 
 to rules, disdain of laws, or ignorance of laws ; far from this, however, 
 he has shown himself not only observant of rules and conversant 
 with laws as they existed by classical precedent, but also capable of 
 framing rules and ordaining laws by virtue of his own authority and 
 his own creative genius. The seeming incongruity is a deliberate system 
 of coexistent Long and Short Time to suit the purposes of Dramatic 
 Art ; and admirably has Shakespeare devised and fulfilled this system. 
 In Othello, the vestiges of Short Time are the following : — 
 
 If 't be your pleasure and most wise consent 
 (As partly, I find, it is) that your fair daughter, 
 At this odd-even and dull leatch 0' the night. 
 Transported, with no worse nor better guard, 
 But with a knave of common hire, a gondolier, 
 To the gross clasps of a lascivious Moor. . . 
 
 . . . Get weapons, ho ! 
 And raise some special officers of the night. — 0th., i. i. 
 
 The goodness of the night upon you, friends ! 
 What is the news ?— 
 
 The duke does greet you, general ; 
 And he requires your haste-post-haste appearance. 
 Even on the instant. — 
 
 What is the matter, think you ? — 
 Something from Cyprus, as I may divine ; 
 It is a business of some heat: the galleys 
 Have sent a dozen sequent messengers 
 This very night at one another's heels ; 
 And many of the consuls, raised and met. 
 Are at the duke's already : you have been hotly calVdfor; 
 When, being not at your lodging to be found. 
 The senate hath sent about three several quests. 
 To search you out. — 
 
 'Tis well I am found by you. 
 I will but spend a word here in the house. 
 And go with you. — 
 
 Ancient, what makes he here ? — 
 'Faith, he to-night hath boarded a land carrack. . 
 
 . . . How ! the duke in council ! 
 In this time of the night ! — Ibid., i. 2. 
 
 Welcome, gentle signior ; 
 We lack'd your counsel and your help to-night. . . . 
 
 . . . Th' affair cries haste. 
 And speed must answer it. — 
 Yoit must away to-night. — 
 
 With all my heart. — 
 At nine V the morning here we 'II meet again. . 
 Good night to every one. — . . . 
 Come, Desdemona ; / have but an hour 
 Of love, of worldly matters and direction. 
 To spend with thee : we must obey the time. — . . . 
 Where shall we meet i' the morning? — At my lodging. — I'll be with thee betimes. — 
 Ibid., i. 3. 
 
214 THE SHAKESPEARE KEY. 
 
 News, lads ! our wars are done. 
 The desperate tempest hath so bang'd the Turks, 
 That their designment halts : a noble ship of Venice 
 Hath seen a wreck and sufferance 
 
 On most part of their fleet. — 
 
 How ! is this true ? — 
 
 The ship is here put in, 
 
 A Veronessa ; Michael Cassia, 
 
 Lieutenant to the warlike Moor Othello, 
 
 Is come on shore. . . . 
 
 For every minute is expectancy 
 
 Of more arrivance. — . . . 
 
 The riches of the ship is come on shore ! 
 
 Ye men of Cyprus, let her have your knees. 
 
 Hail to thee, lady ! — ... 
 The Moor! I know his trumpet. — 'Tis truly so. — Let's meet him, and receive him. — 
 ho, where he conies ! . . . 
 
 Come, Desdemona. 
 
 Once more, well met at Cyprus. — 0th., ii. i. 
 The lieutenant to-night watches on the court of guard : . . . Watch you to-night ; 
 for the command, I'll lay 't upon you: Cassio knows you not: I'll not be far from 
 you : do you find some occasion to anger Cassio. — Ibid., ii. i. 
 
 It is Othello's pleasure, our noble and valiant general, that, upon certain tidings now 
 arrived, importing the mere perdition of the Turkish fleet, every man put himself into 
 triumph; . . . ior, besides these bene&cial news, it is the celebration of his luiptial. . . . 
 there is full liberty of feasting, from this present hour of five, till the bell have told 
 eleven. — Ibid., ii. 2. 
 
 Good Michael, look you to the guard to-night. . . . 
 
 Michael, good night ; to-morrow with your earliest 
 
 Let me have speech with you. . . . 
 
 Good night. — 
 Welcome, lago: We must to the watch. — Not this hour, lieutenant; 'tis not yet ten 
 o'clock. Our general cast us thus early for the love of his Desdemona ; whom let 
 us not therefore blame. . . . Come, lieutenant, I have a stoop of wine ; and here 
 without are a brace of Cyprus gallants, that would fain have a measure to the health 
 of black Othello. — Not to-night, good lago: I have very poor and unhappy brains for 
 drinking. ... I have drunk but one cup to-night, and that was craftily qualified too, 
 and, behold, what innovation it makes here. — . . . What, man ! 'tis a night of revels : 
 the gallants desire it. — Where are they? — Here at the door; I pray you, call them in. 
 — I '11 do 't; but it dislikes me. — 
 
 If I can fasten but one cup upon him. 
 
 With that which he hath drunk to-night already. 
 
 He '11 be as full of quarrel and offence 
 
 As my young mistress' dog. Now, my sick fool, Roderigo, 
 
 Whom love has turned almost the wrong side out. 
 
 To Desdemona hath to-night carous'd 
 
 Potations pottle deep ; and he 's to watch ; 
 
 Three lads of Cyprus . . . 
 
 Have I to-night fluster'd with flowing cups, 
 
 And they watch too. — . . . 
 
 'Fore heaven, they have given me a rouse already. — . . . 
 
 Speak, who began this ? on thy love I charge thee. 
 
 I do not know : friends all but now, even now. 
 
 In quarter, and in terms bride and groom 
 
 Devesting them for bed ; and then, but now 
 
 (As if some planet had unwitted men). 
 
 Swords out, and tilting one at other's breast. 
 
 In opposition bloody. — . . . 
 
 . . . nor know I aught 
 
 By me that 's said or done amiss this night ; — ... 
 . . . What, in a town of war, 
 
 Yet wild, the people's hearts brimful of fear, 
 
DRAMATIC TIME. 215 
 
 To manage private and domestic quarrel, 
 
 In night, and on the court and guard of safety ! — 
 ... I return'd, the rather 
 
 For that I heard the clink and fall of swords, 
 
 And Cassio high in oath; which till to-night 
 
 I ne'er might say before. When I came back 
 
 (For this was brief) I found them close together. 
 
 At blow and thrust ; even as again they were 
 
 When you yourself did part them. — . . . 
 Betimes in the morning, I will beseech the virtuous Desdemona to undertake Jor nie : 
 I am desperate of my fortunes, if they check me here. — You are in the right. Good 
 night, lieutenant ; I must to the watch. — Good night, honest lago. — ... I have been 
 to-night exceedingly well cudgelled — . . . 
 
 . . . By the mass, 'tis morning ; 
 
 Pleasure and action make the hours seem short. — Oih,, ii. 3. 
 
 Masters, play here ; I will content your pains ; 
 
 Something that 's brief; and bid good morrow, general. — . . . 
 . . . If the gentlewoman that attends the general's wife be stirring, tell her there 's 
 one Cassio entreats her a little favour of speech: wilt thou ao this ? — She is stirring. 
 sir. — ... In happy time, lago. — 
 
 You have not been a-bed, then ? — 
 
 Why, no ; the day had broke 
 
 Before we parted. I have made bold, lago. 
 
 To send in to your wife : my suit to her 
 
 Is, that she will to virtuous Desdemona 
 
 Procure me some access. — 
 
 I '11 send her to you presently ; — 
 
 Good morrow, good lieutenant ; — Ibid., iii. i. 
 
 These letters give, lago, to the pilot ; 
 
 And, by him, do my duties to the senate : 
 
 That done, I will be walking on the works ; 
 
 Repair there to me.^Ibid., iii. 2. 
 
 Be thou assured, good Cassio, I will do 
 
 All my abilities in thy behalf. — . , . 
 
 Madam, here comes my lord. — . . . 
 
 How now, my lord ! 
 
 / have been talking with a suitor here, 
 
 A man that languishes in your displeasure. — 
 . . . Went he hence now ? — 
 
 Ay, sooth ; so humbled, 
 
 That he hath left part of his grief with me. 
 
 To suffer with him. Good love, call him back. — 
 
 Not now, sweet Desdemona. — Ibid., iii. 3. 
 
 / heard thee say but now, thou lik'dst not that. 
 
 When Cassio left my wife : what didst not like ? — Ibid., iii. 3. 
 How now, my dear Othello ! 
 
 Your dinner and the generous islanders 
 
 By you invited, do attend your presence. — 
 
 I am to blame. — 
 
 Why is your speech so faint ? are you not well ? — 
 
 I have a pain upon my forehead here. — 
 
 Faith, that 's with watching ; 'twill away again ; 
 
 Let me but bind it hard, within this hour 
 
 It will be well. — Ibid., iii. 3. 
 
 What will you give me now for that same handkerchief ? 
 
 . . . She let it drop by tiegligence, and to th' advantage, 
 
 /, being here, took 't up. Look, here it is. — . . . 
 
 / will in Cassio's lodging lose this napkin, 
 
 And let him find it . . . 
 
 . . . such a handkerchief. 
 
2i5 THE SHAKESPEARE KEY. 
 
 (I am sure it was your wife's) did I to-day 
 See Cassia wipe his beard with. — . . . 
 
 . Look here. lago ; 
 All my fond love thus do I blow to heaven : 'tis gone. 
 Arise, black vengeance, from thy hollow hell 1 
 Yield up, O love, thy crown and hearted throne 
 To tyrannous hate ! . . . 
 
 ... I will withdraw. 
 To furnish me li'ith some swift means of death 
 For the fair devil. — Oth., iii. 3. 
 
 I pray you bring me on the way a little ; 
 
 And say if I shall see yon soon at night. — 
 
 'Tis but a little way that I can bring you ; 
 
 For I attend here: but I HI see yon soon. — Ibid., iii. 4. 
 
 What did you mean by that same handkerchief you gave me even now ? . An 
 yon '\\ come to supper to-night ; you may; — . . . Will you sup there ? — Faith. / i;i.'i.-)(rf 
 so. — Ibid., iv. I. 
 
 Ay, let her rot, and perish, and be damned to-night. . . Get me some poison, 
 lago; this night. . . . this night, lago. — Do it not with poison, strangle her in her 
 bed. . . . And for Cassio — let me be his undertaker: you shall hear more bv mid- 
 night. — Ibid., iv. I. 
 
 And, sir, to-night, 
 
 I do entreat that we may sup together ; 
 
 You are welcome, sir, to Cyprus. — Ibid., iv. i. 
 Pr'ythee, to-night 
 
 Lay on my bed my wedding sheets. . . . 
 
 Hark, how these instruments summon to supper ! 
 
 The messengers of Venice stay tlie meat : . . . 
 Roderigo, if thou hast that in thee indeed, which I have greater reason to beh'e\'e 
 now than ever — I mean, purpose, courage, and valour — this night show it: if thou 
 the next night following enjoy not Desdemona, take me from this world with treachery 
 He sups to-night with a harlotry, and thither will I go to him : he knows not vet 
 of his honourable fortune. If you will watch his going thence — which I will fashion 
 to fall out between twelve and one — you may take him at your pleasure : I will be near 
 to second your attempt, and he shall fall between us. . . . It is now high supper-time, 
 and the night grows to waste : about it. — Ibid., iv. 2. 
 
 Madam, good night : I humbly thank your ladyship. — 
 
 Your honour is most welcome. — 
 
 Will you walk, sir ? 
 
 0,— Desdemona, — • 
 
 My lord ? 
 
 Get you to bed on the instant ; I will be returned forthwith.-- 
 
 I have laid those sheets you bade me on the bed. — 
 
 All 's one. Good father ! how foolish are our minds ! 
 
 If I do die before thee, pr'ythee, shroud me 
 
 In one of those same sheets. — . . 
 
 . . . That song, to-night. 
 
 Will not go from my mind. . . . 
 
 So, get thee gone ; good night. . . . 
 
 Good night, good night. — Ibid., iv. 3. 
 
 Here, stand behind this bulk ; straight 7cill he come : 
 
 Wear thy good rapier bare, and put it home : 
 
 Quick, quick ; fear nothing ; I '11 be at thy elbow. — 
 . . . Villain, thou dicst 1 — 
 
 Minion, your dear lies dead. 
 
 And your unblest fate hies. — . . . 
 
 Two or three groan : it is a heavy night: . . . 
 
 Cassio hath here been set on in the dark 
 
 By Roderigo, and fellows that are 'scaped : 
 
DRAMATIC TIME. 
 
 While, 
 following 
 
 He 's almost slain, and Rodcrigo dead. — . . . 
 
 Go know of Cassio '^shcre he supp'd to-night. 
 
 What, do you shake at that ? — 
 
 He supp'd at my house; but I therefore shake not. — . . . 
 
 Emilia, nih yon to the citadel, 
 
 And tell mv lord and lady what hath happ'd. 
 
 Will you go on, I pray ? This is the night 
 
 That either makes me, or fordoes me quite. — 0th., v. i. 
 
 Have you pray'd to-night, Desdemona ? — 
 
 Ay, my lord. — 
 If you bethink yourself of any crime, 
 Unreconcil'd as yet to heaven and grace. 
 Solicit for it straight. — . . . 
 
 . . . thou 'rt on thy death-bed. — 
 Ay, but not yet to die. — 
 
 Yes, presently ; 
 Therefore confess thee freely of thy sin ; . . . — 
 Kill me to-morrow ; let me live to-night. — 
 Nay, if you strive, — 
 
 But half-an-hour ! — 
 
 Being done, 
 There is no pause. — 
 
 But while I say one prayer ! — 
 It is too late. — [Smothers her. . 
 
 My wife ! my wife ! what wife ? I have no wife. 
 Oh, insupportable ! heavy hour ! . . 
 I kiss'd thee, ere I kill'd thee : no way but this. 
 Killing myself, to die upon a kiss. — \_Dies.^ — Ibid., v. 2. 
 
 on the other hand, the vestiges of Long Time are the 
 
 So that, dear lords. ;/ / be left behind, 
 
 A moth of peace, and lie go to the zaar. 
 
 The rites for which I love him are bereft me. 
 
 And 1 a heavy interim shall support 
 
 By his dear absence. Let me go with him. — . . 
 
 Adieu, brave Moor [ use Desdemona well. — 
 
 Look to her. Moor, if thou hast eyes to see : 
 
 She has deceiv'd her father, ajid may thee. — 
 
 My life upon her faith ! Honest lago. 
 
 My Desdemona must I leave to thee : 
 
 I pr'ythee, let thy wife attend on her ; 
 
 And bring them after in the best advantage. — Ibid., i. 3. 
 
 How, how ? Let 's see : 
 After some time, to abuse Othello's ear 
 That he is too familiar with his wife. — Ibid., i. 3. 
 
 The Moor himself 's at sea, 
 And is in full commission here for Cyprus. — 
 The divine Desdemona. — 
 
 What is she ? — 
 She that I spake of, our great captain's captain, 
 Left in the conduct of the bold lago ; 
 Whose footing here anticipates our thoughts, 
 A se'nnighfs speed. — Ibid., ii. i. 
 
 Good love, call him back. — 
 Not now, sweet Desdemona ; some other time. — 
 But shall 't be shortly ? — 
 
 The sooner, sweet, for you. — 
 Shall 't be to-night at supper ? — 
 
 No, not to-night. — 
 
2i8 THE SHAKESPEARE KEY. 
 
 To-morrow, dinner, then ? — 
 
 / shall not dine at home; 
 I meet the captains at the citadel. — 
 Why, then, to-morrow night; or Tuesday morn; 
 On Tuesday noon, or night; on Wednesday morn : 
 I pr'ythee, name the time; but let it not 
 Exceed three days. — 0th., iii. 3. 
 I am glad I have found this napkin : 
 This was her first remembrance from the Moor : 
 My wayward husband hath a hundred times 
 Woo d me to steal it ; but she so loves the token — 
 For he conjur'd her she should ever keep it — 
 That she reserves it evermore about her. 
 To kiss and talk to. — , . . 
 What handkerchief! — 
 
 Why, that the Moor first gave to Desdemona ; 
 That which so often you did bid me steal. — Ibid., iii. 3. 
 What sense had I oiher stolen hours of lust? 
 I saw 't not, thought it not, it harm'd not me : 
 / slept the next night well, was free and merry ; 
 I found not Cassio's kisses on her lips. — Ibid., iii. 3. 
 
 I lay with Cassio lately ; 
 And, being troubled with a raging tooth, 
 I could not sleep. 
 
 There are a kind of men so loose of soul. 
 That in their sleeps will mutter their affairs : 
 One of this kind is Cassio : . . . 
 Have you not sometimes seen a handkerchief, 
 Spotted with strawberries, in your wife's hand ? — . . . 
 Within these three days let me hear thee say 
 That Cassio 's not alive. — Ibid,, iii. 3. 
 Is not this man jealous ? — 
 / ne'er saw this before. — . . . 
 'Tis not a year or two shows us a man. — Ibid., iii. 4. 
 
 How now, good Cassio! what's the news with you? — 
 
 Madam, my former suit :* I do beseech you. 
 
 That by your virtuous means I may again 
 
 Exist, and be a member of his love. 
 
 Whom I, with all the office of my heart, 
 
 Entirely honour : I would not be delay'd. — 
 
 . . . Alas, thrice-gentle Cassio ! 
 My advocation is not now in tune ; 
 My lord is not my lord ; nor should I know him, 
 Were he in favour, as in humour, altered. 
 
 . . . Something, sure, of state — 
 Either from Venice, or some unhatch'd practice 
 Made demonstrable here in Cyprus to him — 
 Hath puddled his clear spirit . . . 
 
 . . . Nay, we must think men are not gods. 
 Nor of them look for such observances 
 As fit the bridal ! — Ibid., iii. 3. 
 
 • It is in this brief scene that so much lapse of time is implied : for Cassio speaks of 
 his " former suit," and Desdemona sends for him to inform him of the progress she has 
 made in her advocacy on his behalf, although there is no absolutely stated interval since 
 she begged Othello to let Cassio come and plead for recall, and her husband refused to 
 allow this return to be made either " to-night," " to-morrow," or within the next " three 
 days." So systematically is Long Time implied, while Short Time is preserved, that 
 it is impossible not to believe in this having been the author's thorough intention and 
 artistic plan. 
 
DRAMATIC TIME. 2ig 
 
 And I was going to your lodging, Cassio. 
 What ! keep a week away ? seven days and nights ? 
 Eight score eight hours ? and lovers' absent hours, 
 More tedious than the dial eight score times ? 
 
 weary reckoning I — 
 
 Pardon me, Bianca: 
 
 1 have this while with leaden thoughts been press'd ; 
 But I shall, in a more continuate time, 
 
 Strike off this score of absence. Sweet Bianca, 
 Take me this work out. — 
 
 Cassio ! whence came this ? 
 This is some token from a newer friend : 
 To the felt absence, now, I feel a cause : 
 Is 't come to this ? Well, well. — 0th., iii. 4. 
 
 My lord is fallen into an epilepsy : 
 
 This is his second fit ; he had one yesterday. — Ibid., iv. i. 
 
 For I will make him tell the tale anew. 
 
 Where, how, how oft, how long ago, and when 
 
 He hath, and is again, to cope your wife. — Ibid., iv. 1. 
 
 She was here even now ; she haunts me in every place. I was, the other day, talking 
 on the sea-bank with certain Venetians ; and thither comes this bauble. — Ibid., iv. 1 . 
 
 May be, the letter mov'd him ; 
 For, as I think, they do command him home. 
 Deputing Cassio in his government. — . . . 
 Is this the noble Moor whom our full senate 
 Call all-in-all sufficient ? this the noble nature 
 Whom passion could not shake ? whose solid virtue 
 The shot of accident, nor dart of chance, 
 Could neither graze nor pierce? — 
 
 He is much changed. — 
 . . . What, strike his wife ! 
 
 . . . Is it his use ? — Ibid., iv. i. 
 You have seen nothing, then ? — 
 Nor ever heard, nor ever did suspect. — . . . 
 What, did they never whisper "i — 
 
 Never, my lord. — 
 Nor send you out of the way ? — 
 
 Never. — 
 To fetch her fan, her gloves, her mask, nor nothing ■ — 
 Never, my lord. — Ibid., iv. 2. 
 Lay on my bed my wedding sheets. — Ibid., iv. 2. 
 
 Who keeps her company ? 
 What place ? what time ? what form ? what likelihood ? — . . . 
 If e'er my will did trespass 'gainst his love. 
 Either in discourse of thought or actual deed ; 
 Or that mine eyes, mine ears, or any sense. 
 Delighted them in any other form ; 
 Or that I do not yet, and ever did. 
 And ever will, — though he do shake me off 
 To beggarly divorcement — love him dearly. 
 Comfort forswear me ! — Ibid., iv. j,. 
 
 Every day thou daff'st me with some device, lago; and rather, as it seems to me 
 now, keepest from me all conveniency than suppliest me with the least advantage of 
 hope. I will, indeed, no longer endure it ; nor am I yet persuaded to put up in peace 
 what already I have foolishly suffered. — Ibid., iv. 2. 
 
 'Tis pitiful ; but yet lago knows 
 
 That she with Cassio hath the act of shame 
 
 A thousand times committed. — Ibid., v. 2. 
 
THE SHAKESPEARE KEY. 
 
 That handkerchief thou speak'st of 
 I found by fortune, and did give my husband ; 
 For often, with a solemn earnestness, 
 More than, indeed, belong'd to such a trifle, 
 He begg'd of me to steal it. — Otii., v. 2. 
 
 In Shakespeare's masterpiece of historic dramatic composition, 
 "Antony and Cleopatra," he has boldly taken a period that spans 
 a whole decade ; and yet has so subjected it to his power of compres- 
 sion as to make it appear plausibly transpiring within the ken of 
 stage representation. Ten historical years elapsed between the epoch 
 of Fulvia's death and that of Marc Antony's and Cleopatra's ; while 
 the dramatist has placed the announcement of the former at the 
 opening of his drama, and the occurrence of the latter at its close, 
 without violating our sense of natural time-progress. He has done 
 this by means of systematically given dual Dramatic Time — concur- 
 rent Short Time and Long Time-; and, moreover, he has enhanced the 
 illusory effect of each, by giving to each latent minglings of its opposite. 
 In the indications of Long Time there are coexistent traces of brevity, 
 and in the indications of Short Time there are coexistent touches of pro- 
 traction. He has so involved Long Time with hints of Short Time, 
 and Short Time with hints of Long Time, that he has left vague and 
 unstated precise time of any kind ; he has merely denoted certain epochs 
 while referring to passing incidents, and has marked periods by allu- 
 sion to successive events. By an artistic undefinedness he has managed 
 to produce a magically definite impression of natural dramatic course ; 
 and the ten historical years melt before our eyes into the five theatrical 
 acts by the might of Shakespeare's playwright art. First, we enume- 
 rate the indications of Short Time, in which are mingled with present 
 progress hints of other and prolonged time : — 
 
 Nay, but this dotage of our generaVs 
 O'erflows the measure : those his goodly eyes, 
 That o'er the files and musters of the war 
 Have glow'd like plated Mars, iioic bend, now turn, 
 The office and devotion of their view 
 Upon a tawny front. — . . . 
 Nezcs, my good lord, from Rome. — . . . 
 Now, for the love of Love and her soft hours, 
 Let's not confound the time with conference harsh ; 
 There's not a minute of our lives should stretch 
 Without some pleasure now. What sport to-night ? — 
 Hear the ambassadors. — . . . 
 No messenger ; but thine, and all alone, 
 To-niglit 'ee 'II wander through the streets, and note 
 The qualities of people. Come, mv queen ; 
 Last night you did desire it. — Ant. &• C, i. 1. 
 Bring in the banquet quickly ; wine enough 
 Cleopatra's health to drink. . . . 
 We'll know all our fortunes. — Mine, and most of our fortunes, to-night, shall be — 
 drunk to bed. — Ibid., i. 2. 
 
 Fulvia thy wife is dead. — 
 
 Where died she ? — 
 In Sicyon :^ . . . 
 There 's a great spirit gone. . . . 
 I must from this enchanting queen break off: 
 Ten thousand harms, more than the ills I knowj 
 
DRAMATIC TIME. 
 
 My idleness doth hatch. Ho, Enobarbus ! — 
 What 's your pleasure, sir ? — 
 I must with haste from hence. . . . Fulvia is dead., . . . 
 
 . . . Let our oncers 
 Have notice what we purpose, I shall break 
 The cause of our expedience to the queen, 
 And get her love to part. For not alone 
 The death of Fulvia. with more urgent touches, 
 Do strongly speak to us ; but the letters, too, 
 Of many our contriving friends in Rome 
 Petition us at home . . . 
 
 . . . Say, our pleasure. 
 To such whose place is under us, requires 
 Our quick remove from hence. — Ant. (S* C, i. 2. 
 
 By the fire 
 That quickens Nilus' slime, I go from hence 
 Thy soldier, servant ; making peace, or war, 
 As thou affect'st . . . Let us go. Come ; 
 Our separation so abides, and flies. 
 That thou, residing here, go'st yet with me, 
 And I. hence feeling, here remain with thee. 
 Away ! — Ibid., i. 3. 
 
 Here comes 
 The noble Antony. — 
 
 And yonder Casar. — . . . 
 Welcome to Rome. — . . . 
 
 . . Great Mark Antony 
 Is now a widower. ... 
 To hold you in perpetual amity, 
 To make you brothers, and to knit your hearts 
 With an unslipping knot, take Antony 
 Octavia to his wife : . . . By this marriage, 
 All little jealousies, which now seem great. 
 And all great fears, zohick now import their dangers. 
 Would then be nothing: truths would be but tales. 
 Where now half tales be truths. — 
 
 . . . Let me have thy hand : 
 Farther this act of grace ; and from this hour. 
 The heart of brothers govern in our loves, 
 And sway our great designs ! — . . . 
 
 . . . Time calls upon us : 
 Of us must Pompey presently be sought. 
 Or else he seeks out us. — . . . 
 
 . . . Haste we for it: 
 Yet, ere we put ourselves in arms, despatch we 
 The business we have talk'd of. — 
 
 With most gladness ; 
 And do invite you to my sister's view. 
 Whither straight I'll lead you. — Ibid., ii. ^. 
 
 Good night, sir. . . . Good night, deav la.Ay. 
 Good night, sir. — 
 
 Good night. — . . . 
 . . . though I make this marriage for my peace, 
 r the east my pleasure lies. — Ibid., ii. 3. 
 Trouble yourselves no farther : pray you hasten 
 Your generals after. — 
 
 Sir, Mark Antony 
 Will e'en but kiss Octavia, and we 'II follow. — Ibid., ii. 4. 
 Madam, he 's married to Octavia. . . . 
 I, that do bring the news, made not the match. — Ibid., ii. ; 
 
THE SHAKESPEARE KEY. 
 
 You have made me offer 
 Of Sicily, Sardinia ; and I must 
 Rid all the sea of pirates ; then to send 
 Measures of wheat to Rome : this 'greed upon, 
 To part with unhack'd edges, and bear back 
 Our targes undinted. — 
 
 That 's our offer. — 
 
 Know then, 
 I came before you here, a man prepar'd 
 To take this offer. — . . . 
 
 . . . Well met here. — 
 I hope so, Lepidus. Thus we are agreed ; 
 I crave, our composition may be written. 
 And seal'd between us. — 
 
 That 's the next to do. — 
 We 'U feast each other, ere we part ; and let 's 
 Draw lots who shall begin. . . . 
 
 . . . How far'st thou, soldier ? — 
 Well; 
 And well am like to do ; for, I perceive. 
 Four feasts are toward. — . . . 
 Aboard my galley I invite you all : 
 Will you lead, lords ? — 
 
 Show us the way, sir. — 
 
 Come. — . . . 
 We came hither to fight with you. — For my part, I am sorry it is turned to a drink- 
 ing. Pompey doth this day laugh away his fortune. . . . Come, sir, will you aboard f 
 I have a health for you. — I shall take it, sir : we have used our throats in Egypt. — 
 Come, let 's away. — Ant. &• C, ii. 6. 
 
 This is not yet an Alexandrian feast. — 
 
 It ripens towards it. Strike the vessels, ho ! 
 
 Here is to Caesar ! ... Be a child o' the time. — 
 
 Possess it, I '11 make answer ; but I had rather fast 
 
 From all four days, than drink so much in one. — 
 
 Ha, my brave Emperor ! 
 
 Shall we dance now the Egyptian Bacchanals, 
 
 And celebrate our drink ? — . . . 
 
 What would you more ? Pompey, good night. 
 
 . . . What needs more words ? Good night. — Ibid., ii. 7. 
 
 Now, darting Partkia, art thou struck ; and now 
 Pleas'd fortune does of Marcus Crassus' death 
 Make me revenger. Bear the king's son's body 
 Before our army. Thy Pacorus, Orodes, 
 Pays this for Marcus Crassus. — . . . 
 
 . . . Thou wilt write to Antony ? — 
 . . . Where is he now ? 
 He purposeth to Athens : whither, with what haste 
 The weight we must convey with us will permit. 
 We shall appear before him. On, there ; pass along. — Ibid., iii. i. 
 
 What, are the brothers parted ? — 
 They have despatched with Pompey ; he is gone ; 
 The other three are sealing. Octavia weeps 
 
 To part from Rome ; Ccesar is sad. . . . [Trumpet sounds. 
 
 This is to horse. Adieu, noble Agrippa. — . . . 
 Farewell, my dearest sister, fare thee well. — Ibid., iii. 2. 
 There 's strange news come, sir. — What, man ? — Casar and Lepidus have made wars 
 upon Pompey. — . . . 
 
 Where 's Antony ? — 
 He 's walking in the garden — thus ; and spurns 
 The rush that lies before him ; cries " Fool, Lepidus ! " 
 
DRAMATIC TIME. 2^3 
 
 And threats the throat of that his officer 
 That murder'd Pompey. — 
 
 Our great navy 's rigged. — 
 For Italy and Casar. More, Domitius ; 
 My lord desires you presently : my news 
 I might have told hereafter. — 
 
 'Twill be naught : 
 But let it be. Bring me to Antony. — 
 Come, sir. — Ant. &• C, iii. 5. 
 
 Lastly, he frets 
 That Lepidus of the triumvirate 
 Should be depos'd ; and, being, that we detain 
 All his revenue. — 
 
 Sir, this should be answer'd. — 
 Tji done already, and the messenger gone. — Ibid., iii. 6. 
 
 Hail, CcEsar, and my lord ! hail, most dear Ccesar ! — 
 Why have you stol'n upon us thus ? you come not 
 Like Casar's sister ; the wife of Antony 
 Should have an army for an usher ; . . . 
 . . . but you are come 
 A market-maid to Rome. — . . . 
 
 Good my lord. 
 To come thus was I not constrain'd, but did it 
 On my free will. My lord, Mark Antony, 
 Hearing that you prepar'd for war, acquainted 
 My griev'd ear withal ; whereon, I begg'd 
 His pardon for return. — 
 
 Which soon he granted. . 
 Where is he now ? — 
 
 My lord, in Athens.— 
 No, my most wronged sister; Cleopatra 
 Hath nodded him to her. . . . 
 
 . . . Welcome to Rome ; 
 Nothing more dear to me. You are abus'd 
 Beyond the mark of thought ; and the high gods. 
 To do you justice, make their ministers 
 Of us and those that love you. Best of comfort ; 
 And ever welcome to us. — Ibid., iii. 6. 
 
 Your presence needs must puzzle Antony ; 
 
 Take from his heart, take from his brain, from 's time. 
 
 What should not then be spar'd. He is already 
 
 Traduc'dfor levity ; and 'tis said in Rome 
 
 That Photinus a eunuch, and your maids, 
 
 Manage this war. — . . . 
 
 ... Is it not strange, Canidius, 
 That from Tarentum and Brundusium 
 He could so quickly cut the Ionian sea. 
 And take in Toryne ? You have heard on H, sweet ? — 
 The news is true, my lord ; he is descried ; 
 Ccesar has taken Toryne. — 
 Can he be there in person ? 'tis impossible . . . 
 
 . . . we 'II to our ship. 
 Away, my Thetis ! — . . . 
 
 . . . This speed of Ccssar's 
 Carries beyond belief. — . . . 
 The emperor calls Canidius. — 
 
 With news the time's with labour ; and throes forth. 
 Each minute, some. — Ibid., iii. 7. 
 
 Set we our squadrons on yon side 'the hill, 
 In eye of Ccesar' s battle ; from which place 
 
224 THE SHAKESPEARE KEY. 
 
 We may the number of the ships behold. 
 
 And so proceed accordingly. — 
 
 Naught, naught, all naught ! I can behold no longer : 
 
 The Antoniad, the Egyptian admiral. 
 
 With all their sixty, fly, and turn the rudder ; 
 
 To see H mine eyes are blasted, — . . . 
 
 . . . Yon ribald-rid nag of Egypt — 
 Whom leprosy o'ertake ! — i' the midst o' the fight 
 When vantage like a pair of twins appear'd, 
 Both as the same, or rather ours the elder, 
 The brize upon her, like a cow in June, 
 Hoists sails and flies. — 
 
 That I beheld : 
 Mine eyes did sicken at the sight, and could not 
 Endure a farther view. — 
 
 She once being loof d, 
 The noble ruin of her magic, Antony, 
 Claps on his sea-iving, and, like a doting mallard, 
 Leaving the fight in height, flies after her, — . . . 
 O. he has given example for our flight, 
 Most grossly, by his own ! — 
 
 Ay, are you thereabouts ? Why, then, good night 
 Indeed. — 
 
 Towards Peloponnesus are they fled. — 
 'Tis easy to 't ; and there I will attend 
 What farther comes. — 
 
 To Casar will I render 
 My legions and my horse : six kings already 
 Show me the way of yielding. — Ant. &• C, iii. S. 
 
 Let him appear that 's come from Antony. 
 
 . . . Approach and speak. . . . 
 For Antony 
 I have no ears to his request. The queen 
 Of audience, nor desire, shall fail; so she 
 From Egypt drive her all-disgraced friend. 
 Or take his life there: this if she perform. 
 She shall not sue unheard. So to them both. — 
 Fortune pursue thee ! — 
 
 Bring him through the bands. — 
 To try thy eloquence, now 'tis time: despatch : 
 From Antony win Cleopatra. — . . . 
 
 . . . CcEsar, I go. — Ibid., iii. lo. 
 
 I dare him, therefore, 
 To lay his gay comparisons apart. 
 And answer me declined, sword against sword, 
 Ourselves alone. I'll write it: follow me. — Ibid., iii. ii. 
 
 A messenger from Ctxsar. . . . 
 Admit him, sir. . . . 
 . . . Casafs will ? — 
 Hear it apart. — 
 
 None but friends : say boldly. — 
 
 . . . Most kind messenger, 
 Say to great Ccesar this ; tell him, I am prompt 
 To lay my crown at'sfeet, and there to kneel. . . . 
 
 . Take hence this jfack, and whip him.- 
 . . . Tug him away : being whipp'd, 
 Bring him again : this Jack of Caesar's shall 
 Bear us an errand to him. . . . 
 Is he whipp'd ? — 
 
 Soundly, my lord. — . . . 
 
DRAMATIC TIME. 225 
 
 . . . Get thee back to CcBsar, 
 Tell him thy entertainment ; look, thou say 
 He makes me angry with him ; for he seems 
 Proud and'disdainful, harping on what I am, 
 Not what he knew I was : he makes me angry ; 
 And at this time most easy 'tis to do 't. — Ant. &• C, iii. 11. 
 
 Come, 
 Let 's have one other gaudy night : call to me 
 All my sad captains ; fill our bowls ; once more 
 Let 's mock the midnight bell. — 
 
 I. is my birthday : 
 I had thought to have held it poor ; but, since my lord 
 Is Antony again, I will be Cleopatra. — 
 We will yet do well. — 
 Call all his noble captains to my lord. — 
 Do so, we '11 speak to them ; and to-night I HI force 
 The wine peep through their scars. Come on, my queen ; 
 There 's sap in 't yet. . . , 
 
 . . . I will seek 
 Some way to leave him. — Ibid,,, iii. 11. 
 
 He calls me boy ; and chides, as he had power 
 
 To beat me out of Egypt ; my messenger 
 
 He hath whipped with rods ; dares me to personal combat, 
 
 Cmsar to Antony : let the old ruffian know, 
 
 I have many other ways to die ; meantime. 
 
 Laugh at his challenge. — Ibid., iv. i. 
 
 He will not fight with me, Domitius. — . . . 
 Call forth my household servants : let 's to-night 
 Be bounteous at our meal. . . . 
 Well, my good fellows, wait on me to-night : 
 Scant not my cups . . . 
 
 . . . Tend me to-night ; 
 Maybe, it is the period of your duty: . . . 
 Tend me to-night two hours, I ask no more. . . . 
 
 . . . My hearty friends, 
 You take me in too dolorous a sense ; 
 For I spake to you for your comfort ; did desire you 
 To burn this night with torches. . . . 
 
 . . . Let 's to supper, come. 
 And drown consideration. — Ibid., iv. 2. 
 
 Brother, good night: to-morrow is the day. — 
 
 It will deterinine one way. . . . Good night to you. — • 
 
 Well, sir, good night. — 
 
 Soldiers, have careful watch. — 
 
 And you. Good night, good night. — Ibid., iv. 3. 
 
 Eros ! mine armour, Eros ! — 
 
 Sleep a little. — 
 No, my chuck. Eros, come ; mine armour, Eros ! 
 Come, good fellow, put mine iron on : 
 If fortune be not ours to-day, it is 
 Because we brave her : come : — . . . 
 Thou fumblest, Eros ; and my queen 's a squire 
 More tight at this than thou : despatch. O love. 
 That thou couldst see my wars to-day, and knew'st 
 The royal occupation ! thou shouldst see 
 A workman in 't. Good morrow to thee ; welcome : 
 Thou look' St like him that knows a warlike charge : 
 To business that we love we rise betime. 
 And go to 't with delight. — 
 
226 THE SHAKESPEARE KEY. 
 
 A thousand, sir, 
 Early though 't be, have on their riveted trim, 
 And at the port expect you. — 
 The morn is fair. Good morrow, general. — 
 Good morrow, general. — 
 
 'Tis well blown, lads ; 
 This mo7'ning, like the spirit of a youth 
 That means to be of note, begins betimes. — .4iit. &• C, iv. 4. 
 
 The gods make this a happy day to Antony ! — . . . 
 The kings that have revolted, and the soldier 
 That has this morning left thee, would have still 
 Follow'd thy heels. — 
 
 Who 's gone this morning ? — 
 
 Who! 
 One ever near thee : call for Enobarbns, 
 He shall not hear thee ; or from Caesar's camp 
 Say, " I am none of thine." — 
 
 What say'st thou ? — 
 
 Sir, 
 He is with Casar. — 
 
 Sir, his chests and treasure 
 He has not with him. — 
 
 Is he gone ? — 
 
 Most certain. — 
 Go, Eros, send his treasure after ; do it ; 
 Detain no jot, I charge thee: . . . despatch. — Ibid.,\\. 5. 
 
 Go forth, Agrippa, and begin the fight : — 
 
 . . . Antony 
 Is come into the field. — . . . 
 
 . . . Enobarbus, Antony 
 Hath after thee sent all thy treasure, with 
 His bounty overplus ; the messenger 
 Came on my guard ; and at thy tent is now 
 Unloading of his mules. — . . . 
 
 . . . O Antony, 
 Thou mine of bounty, how wouldst thou have paid 
 My better service, when my turpitude 
 Thou dost so crown with gold ! This blows my heart : 
 If swift thought break it not, a swifter mean 
 Shall outstrike thought ; but thought will do 't, I feel. 
 I fight against thee ! No : / will go seek 
 Some ditch wherein to die. — Ibid., iv. 6. 
 
 We have beat him to his camp ; run one before. 
 And let the queen know of our gests. To-morrow, 
 Before the sun shall see us, we HI spill the blood 
 That has to-day escaped. . . . 
 
 . . . he hath fought to-day 
 As if a god, in hate of mankind, had 
 Destroy'd in such a shape. . . . 
 Had our great palace the capacity 
 To camp this host, we all would sup together. 
 And drink carouses to the next day's fate. 
 Which promises royal peril. — Ibid., iv. 8. 
 
 If we be not reliev'd within this hour, 
 We must return to the court of guard : the night 
 Is shiny ; and. they say, we must embattle 
 By the second hour V the morn. — 
 
 This last day was 
 A shrewd one to us. — 
 
 bear me witness, night, — . . 
 
DRAMATIC TIME. 227 
 
 The poisonous damp of night dispunge upon me, 
 
 That life, a very rebel to my will, 
 
 May hang no longer on me. . . . 
 
 O Antony 1 O Antony !— IDies. . 
 
 The hand of death hath raught him. Hark ! the drums 
 
 Demurely wake the sleepers. Let us bear him 
 
 To the court of guard ; he is of note : our hour 
 
 Is fully out. — Atit. &• C., iv. g. 
 
 Their preparation is to-day by sea : 
 We please them not by land. . . . 
 
 . . . All is lost! 
 My fleet hath yielded to the foe ; and yonder 
 They cast their caps up, and carouse together 
 Like friends long lost. . . . 
 O sun ! thy uprise shall I see no more : 
 Fortune and Antony part here ; even here 
 Do we shake hands. All come to this ? . . . 
 
 . . . Betray'd I am ; 
 
 this false soul of Egypt ! . . . 
 
 To the young Roman boy she hath sold me, and I fall 
 Under this plot ; she dies for 't. Eros, ho ! — Ibid., iv. 10. 
 
 To the monument ! 
 There lock yourself, and send him word you are dead. — Ibid., iv. 11. 
 
 She render'd life. 
 Thy name so buried in her. — 
 
 Dead, then — ? 
 
 Dead. — 
 Unarm, Eros ; the long day's task is done. 
 And we must sleep. . . . Off, pluck off: . . . 
 
 . . . Apace, Eros, apace. 
 No more a soldier : bruised pieces, go ; 
 
 You have been nobly borne. From me awhile. [Exit Eros. 
 
 / will overtake thee, Cleopatra, and 
 Weep for my pardon. So it miist be, for now 
 All length is torture. . . . 
 
 Eros ! I come, my queen. Eros ! . . . Come, Eros ! Eros I — 
 What would my lord ? — . . . 
 
 . . . Thou art sworn, Eros, 
 That, when the exigent should come (which now 
 Is come indeed), when I should see behind me 
 The inevitable prosecution of 
 Disgrace and horror, that on my command, 
 Thou then wouldst kill me: do 't; the time is come. — . . . 
 Why, there, then : [Falls on his sword.} Thus do I escape the sorrow 
 Of Antony's death. — [Dies. 
 
 ... 7 will be 
 A bridegroom in my death, and run into H 
 As to a lover's bed. Come, then ; and, Eros, 
 Thy master dies thy scholar : to do thus 
 
 1 learn'd of thee. — [Falls on his sword. 
 I have done my work, ill, friends : O, make an end 
 
 Of what I have begun. — 
 
 The star is fallen. — 
 And time is at his period. — . . . 
 Bear me, good friends, where Cleopatra bides ; 
 'Tis the last service that I shall command you. — . . . 
 . . . Most heavy day I — Ibid., iv. 12. 
 
 How now 1 is he dead ? 
 His death 's upon him, but not dead. 
 Look out o' the other side your monument ; 
 
 Q 2 
 
228 THE SHAKESPEARE KEY. 
 
 His guards have brought him thither. — . . . 
 / am dying, Egypt, dying. — . . . 
 
 . . . come, come, Antony — - 
 Help me, my women — we must draw thee up : 
 Assist, good friends. — 
 
 quick, or I am gone. — 
 . . . Now my spirit is going ; 
 I can no more. — 
 
 Noblest of men, woo't die ? . . . 
 
 . . . Oh, see, my women, [Antony dies. 
 The crown o' the earth doth melt : my lord ! . . . 
 
 ... is it sin 
 To rush into the secret house of death. 
 Ere death dare come tous? . . . 
 
 . . . Ah, women, women, look, 
 Our lamp is spent, it 's out I Good sirs, take heart : 
 We 'II bury him ; and then, what 's brave, what 's noble. 
 Let 's do it after the high Roman fashion, 
 And make death proud to take us. Come, away : 
 This case of that huge spirit now is cold. — Ant. &• C, iv. 13. 
 
 Z say, Casar, Antony is dead. . . . 
 
 . . . He is dead, Ccesar ; — . . . 
 The business of this man looks out of him ; 
 We '11 hear him what he says. Whence are you ? — 
 A poor Egyptian yet. The queen my mistress, 
 Confin'd in all she has, her monument, 
 Of thy intents desires instruction. — Ibid., v. 1. 
 
 Ccesar sends greeting to the queen of Egypt, . . . 
 
 Cleopatra ! thou art taken, queen ! — 
 
 Quick, quick, good hands. — [Drawing a dagger. 
 
 Hold, worthy lady, hold ! IDisarms her. 
 Do not yourself such wrong. — . . . 
 Make way there ! Cassar ! — 
 Which is the queen of Egypt ? — 
 It is the emperor, madam. — . . . 
 My master, and my lord ! — 
 
 Not so. Adieu. — 
 He words me, girls, he words me, that I should not 
 Be noble to myself; but, hark thee, Charmian. — 
 Finish, good lady ; the bright day is done. 
 And we are for the dark. — 
 
 Hie thee again: 
 
 1 have spoke already, and it is provided; 
 Go, put it to the haste. . . . 
 
 Show me, my women, like a queen : go fetch 
 
 My best attires ; / am again for Cydnus, 
 
 To meet Mark Antony ; sirrah Iras, go. 
 
 Now, noble Charmian, we 'II despatch indeed. — . . . 
 
 . . . Here is a rural fellow 
 That will not be denied your highness' presence : 
 He brings you figs. — 
 
 Let him come m. What poor an instrument 
 May do a noble deed ! he brings me liberty. 
 My resolution 's plac'd, and I have nothing 
 Of woman in me : now from head to fpot 
 I am marble-constant ; now the fleeting moon 
 No planet is of mine. — . . . 
 Hast thou the pretty worm of Nilus there. 
 That kills and pains not ? — 
 Truly, I have him: — . . . 
 Well, get thee gone; farewell. — 
 
DRAMATIC TIME. 229 
 
 Yes, forsooth: I wish you joy of the worm. — 
 
 Give me ray robe, put on my crown ; I have 
 
 Immortal longings in me : now no more 
 
 The juice of Egypt's grape shall moist this lip 
 
 Yare, yare,'good Iras, quick. Methinks I hear 
 
 Antony call ; I see him rouse himself 
 
 To praise my noble act ; I heat him mock 
 
 The luck of Caesar, which the gods give men 
 
 To excuse their after wrath ; husband, I come : . . . 
 
 If she first meet the curled Antony 
 
 He 'II make demand of her, and spend that kiss 
 
 Which is my heaven to have. Come, thou mortal wretch, 
 
 With thy sharp teeth this knot intrinsicate 
 
 Of life at once untie : poor venomous fool. 
 
 Be angry, and despatch. . . . 
 
 O Antony ! Nay, I will take thee too. {^Applying aiwther asp. 
 
 What should I stay, — [Falls on a bed, and dies. 
 
 In this wild world ? so fare thee well. 
 
 Now boast thee, death, in thy possession lies 
 
 A lass unparalleVd. — . . , 
 
 How goes it here ? — 
 
 All dead. — 
 
 Caasar, thy thoughts 
 Touch their effects in this : thyself art coming 
 To see perform'd the dreaded act, which thou 
 So sought'st to hinder. . . . 
 
 sir, you are too sure an augurer ; 
 That you did fear is done. — 
 
 Bravest at the last ; 
 She levell'd at our purposes, and, being royal. 
 Took her own way. — Ant. &• C, v. 2. 
 
 And next, we enumerate the indications of Long Time, which are 
 tinctured with hints of curtness : — 
 
 I am full sorry 
 That he approves the common liar, who 
 Thus speaks of him at Rome : but I will hope 
 Of better deeds to-morrow. — Ibid., i. 1. 
 
 From Alexandria 
 This is the news : he fishes, drinks, and wastes 
 The lamps of night in revel : — ... 
 
 Here 's more news. — 
 Thy biddings have been done ; and every hour. 
 Most noble Caesar, shall thou have report 
 How His abroad. Pompey is strong at sea; 
 And it appears he is beloved of those 
 Thai only have fear' d Ccesar: to the ports 
 The discontents repair, and men's reports 
 Give him much wrong'd. — • ... 
 
 Csesar, I bring thee word, 
 Menecrates and Menas, famous pirates. 
 Make the sea serve them, which they ear and wound 
 With keels of every kind ; many hot inroads 
 They make in Italy. — . . . 
 
 . . . Antony, 
 Leave thy lascivious wassails. . . . 
 Let his shames quickly 
 Drive him to Rome. — . . . 
 
 . . . To-morrow, Ccesar, 
 
 1 shall befurnish'd to inform you rightly 
 Both what by sea and land I can be able 
 
230 THE SHAKESPEARE KEY. 
 
 To front this present time. — 
 
 Till which encounter, 
 It is my business to.o. Farewell. — 
 Farewell, my lord : what you shall know meantime 
 Of stirs abroad, I shall beseech you, sir, 
 To let me be partaker. — Ant. &• C, i. 4. 
 
 Give me to drink mandragora. — 
 
 Why, madam ? — 
 That I might sleep out this great gap of time, 
 My Antony is away. — . . . 
 
 Where think'st thou he is now ? Stands he, or sits he ? 
 Or does he walk ? or is he on his horse ? 
 
 . . . He 's speaking now. 
 Or, murmuring, " Where 's my serpent of old Nile ? " 
 For so he calls me. . . . 
 How goes it with my brave Mark Antony ? — 
 Last thing he did, dear queen. 
 He kiss'd — the last of many doubled kisses — 
 This orient pearl. ..." Good friend," quoth he, 
 " Say the firm Roman to greet Egypt sends 
 This treasure of an oyster ; at whose foot. 
 To mend the petty present, / will piece 
 Her opulent throne with kingdoms; all the east. 
 Say thou, shall call her mistress." — . . 
 
 . . . What, was he sad or merry ? — 
 Like to the time o' the year between the extremes 
 Of hot and cold, he was nor sad nor merry. — 
 
 . . . He was not merry. 
 Which seem'd to tell them his remembrance lay 
 In Egypt with his joy ; . . . Met'st thou my posts ? — 
 Ay, madam, twenty several messengers : 
 Why do you send so thick ? — 
 
 Who 's born that day 
 When I forget to send to Antony 
 Shall die a beggar . . . 
 Get me ink and paper ; 
 He shall have every day a several greeting, 
 Or I'll unpeople Egypt. — Ibid., i. 5. 
 
 Mark Antony 
 In Egypt sits at dinner, and will make 
 No wars without doors : Ccesar gets money where 
 He loses hearts : Lepidus flatters both. — . . . 
 . . . Ccesar and Lepidus 
 Are in the field: a mighty strength they carry. — 
 Where have you this ? 'tis false. — 
 
 From Silvius, sir. — 
 He dreams : I know they are in Rome together 
 Looking for Antony. — . . . 
 Mark Antony is every hour in Rome 
 Expected : since he went from Egypt, 'tis 
 A space for farther travel. — Ibid., ii. i. 
 
 / wrote to you. 
 When rioting in Alexandria ; you 
 Did pocket up my letters, and with taunts 
 Did gibe my missive out of audience. — 
 
 Sir, 
 He fell upon me ere admitted : then 
 Three kings I had newly feasted, and did want 
 Of what I was V the morning : but, next day 
 I told him of myself ; which was as much 
 
DRAMATIC TIME. 231 
 
 As to have ask'd him pardon. — . . . 
 
 To lend me arms and aid when I required them^ 
 
 The which you both denied. — 
 
 Neglected, rather ; 
 And then, when poison'd hours had bound me up 
 From mine own knowledge. . . . 
 I did not think to draw my sword 'gainst Pompey ; 
 For he hath laid strange courtesies and great 
 Of late upon me. — Ant. &• C, ii. 2. 
 
 Yon stayed well by it in Egypt. — Ay, sir; we did sleep day out of countenance, .ind 
 made the night light with drinking. — Eight wild boars roasted whole at a breakfast, and 
 but twelve persons there ; is this true ? — This was but as a fly by an eagle : we had unch 
 more monstrous matter offcast, which worthily deserved noting. — . . . 
 Good Enobarbus, make yourself my guest 
 Whilst you abide here. — Ibid.^ ii. 2. 
 
 The world and my great of/ice will sometimes 
 Divide me from your bosom. — 
 
 All which time 
 Before the gods my knee shall bow my prayers 
 To them for you. . 
 
 Now, sirrah, you do wish yourself in Egypt ? — 
 Would I had never come from thence^ nor you 
 Thither !— 
 
 If you can, your reason ? — 
 
 I see it in 
 My motion, have it not in my tongue : but yet 
 Hie you to Egypt again. — . . . 
 
 . . . / will to Egypt. — Ibid., ii. 3. 
 
 We shall, 
 As I conceive the journey, be at the Mount 
 Before you, Lepidus. — 
 
 Your way is shorter ; 
 My purposes do draw me much about : 
 You 'II win two days upon me.^Ibid., ii. 4. 
 
 That time— O times ! — 
 I laugh'd him out of patience ; and that night 
 I laugh'd him into patience ; and luxt morn. 
 Ere the ninth hour, I drunk him to his bed ; 
 Then, put my tires and mantles on him, whilst 
 I wore his sword Philippan. O, from Italy ! 
 Ram thou thy fruitful tidings in mine ears. 
 That long time have been barren. — Ibid., ii. 5. 
 
 Since I saw you last, 
 There is a change upon you. — Ibid., ii. 6, 
 
 Sister, prove such a wife 
 As my thoughts make thee, and as my farthest band 
 Shall pass on thy approof. . . . 
 
 . . . No, sweet Octavia, 
 You shall hear from me still; the time shall not 
 Out-go my thinking on you. — Ibid., iii. 2. 
 
 Madam, sk Rome 
 I look'd her in the face ; and saw her led 
 Between her brother and Mark Antony. — . 
 / will employ thee back again : I find thee 
 Most fit for business : go make thee ready ; 
 Our letters are prepar'd. — Ibid., iii. 3. 
 Nay, nay, Octavia, not only that — 
 That were excusable, that, and thousands more 
 Of semblable import — but he hath wag'd 
 
232 THE SHAKESPEARE KEY. 
 
 New wars 'gainst Pompey. . . . 
 
 . . . But, as you requested, 
 Yourself shall go between us : the meantime, lady, 
 / '// raise the preparation of a war. . . . 
 
 . . . Provide your going ; 
 Choose your own company, and command what cost 
 Your heart has mind to — Ant. &• C, iii. 4. 
 
 Contemning Rome, he has done all this, and more. 
 
 In Alexandria : here 's the manner of it : 
 
 r the market-place, on a tribunal silvered, 
 
 Cleopatra and himself in chairs of gold 
 
 Were publicly enthron'd : . . . she 
 
 In the habiliments of the goddess Isis 
 
 That day appear'd ; and oft before gave audience, 
 
 As 'tis reported, so. — Ibid., iii. 6. 
 
 We should have met you 
 By sea and land ; supplying every stage 
 With an augmented greeting. — • . . . 
 
 . . . who now are levying 
 The kings 0' the earth for war: he hath assembled 
 Bocchus, the king of Lybia; Archelans, 
 Of Cappadocia; Phitadelphos, king 
 Of Paphlagonia; the Thracian king, Adallas ; 
 King Malchus of Arabia; king of Pont; 
 Herod of Jewry ; Mithridates, king 
 Of Comagene ; Polemon and Amyntas, 
 The kings of Mede and Lycaonia, 
 With a more larger list of sceptres. . . . 
 Your letters did withhold our breaking forth ; 
 Till we perceived, both how you were wrong led. 
 And we in negligent danger. Cheer your heart : 
 Be you not troubled with the time, which drives 
 O'er your content these strong necessities; 
 But let determined things to destiny 
 Hold unbewail'd their way. — Ibid., iii. 6. 
 
 Now I must 
 To the young man send humble treaties, dodge 
 And palter in the shifts of lowness, who 
 With half the bulk 0' the world play' d as I picas' d. 
 Making and marring fortunes. — Ibid., iii. 9. 
 Lord of his fortunes he salutes thee, and 
 Requires to live in Egypt : which not granted. 
 He lessens his requests ; and to thee sues 
 To let him breathe between the heavens and earth, 
 A private man in Athens : this for him. 
 Next, Cleopatra does confess thy greatness ; 
 Submits her to thy might ; and of thee craves 
 The circle of the Ptolemies for her heirs. 
 Now hazarded to thy grace. — Ibid., iii. 10. 
 If from the field I shall return once more 
 To kiss these lips, I will appear in blood ; 
 I and my sword will earn our chronicle : . . . 
 I will be treble-sinew'd, hearted, breath'd. 
 And fight maliciously : for when mine hours 
 Were nice and lucky, men did ransom lives 
 Of me for jests ; but now I '11 set my teeth, 
 And send to darkness all that stop me. — Ibid., iii. 11. 
 
 Let our best heads 
 Know that to-morrow the last of many battles 
 We mean to fight : within our files there are. 
 
DRAMATIC TIME. 233 
 
 Of those that serv'd Mark Antony but late. 
 Enough to fetch him in. — Ant. &• C, iv. i. 
 
 To-morrow, soldier, 
 By sea and land I HI fight : or I will live, 
 Or bathe my dying honour in the blood 
 Shall make it live again. . . . 
 
 . . . perchance to-morrow 
 You 'II serve another master. I look on you, 
 As one that takes his leave. .... 
 
 . . . Know, my hearts, 
 / hope well of to-morrow ; and will lead you. 
 Where rather I '11 expect victorious life. 
 Than death and honour. — Ibid., iv. 2. 
 Would thou and those thy scars had once prevaiVd 
 To make me fight at land f — Ibid., iv. 5. 
 Alexas did revolt; and went to Jewry on 
 Affairs of Antony ; there did persuade 
 Great Herod to incline himself to Casar, 
 And leave his master, Antony : for this pains 
 Caesar hath hang'd him. Canidius, and the rest 
 That fell away, have entertainment, but 
 No hoiwurable trust. — Ibid., iv. 6. 
 I made these wars for Egypt ; and the queen — 
 Whose heart I thought I had, for she had 7nine ; 
 Which, whilst it was mine, had annexed unto 't 
 A million more, now lost — she, Eros, has 
 Pack'd cards with Caesar, and false-play'd my glory 
 Unto an enemy's triumph. — Ibid., iv. 12. 
 C£Esar through Syria 
 Intends his journey ; and, within three days. 
 You .with your children will he send before. — Ibid., v. 2. 
 
 The shiftings of the various localities wherein the incidents in the 
 play of Cymbeline occur — now in Britain and now in Italy, sometimes 
 in Cymbeline's palace, anon near Milford Haven, sometimes before the 
 Welsh cave, and anon in Rome — demanded such an adjustment of 
 Dramatic Time as should allow naturally for change of place while 
 giving the effect of stage concentration. Shakespeare has accordingly 
 thrown in touches of rapidity, whenever he has introduced transition, 
 that produce the impression of speedily achieved removal. Thus, he uses 
 such phrases as " straight away for Britain," and " away to Britain post 
 I in this design ; " tending to convey the idea of ease and swiftness, which 
 operate upon the imagination, and induce it to accept as readily passed 
 such mentioned space and interim. The mind, too, is repeatedly kept 
 fixed upon present and current time, so as to preserve dramatic suc- 
 cinctness and impart unity of effect throughout. The grand secret 
 of Shakespeare's dominion in Dramatic Art is unity of impression ; he 
 invariably produces unity of impression, however he may subject the 
 respective unities of time and place to his own ordinances. 
 
 Here, then, are the passages indicative of Short Time, which 
 maintain present and current transaction in the mind : — 
 
 His daughter, and the heir of 's kingdom, whom 
 He purpos'd to his wife's sole son (a widow 
 That late he married) hath referr'd herself 
 Unto a poor but worthy gentleman : she 's wedded ; 
 
234 THE SHAKESPEARE KEY 
 
 Her husband banish' d ; she imprison' d : all 
 Is outward sorrow. — Cym., i. i. 
 
 I will from hence to-day. — 
 
 You know the peril. 
 I '11 fetch a turn about the garden, pitying 
 The pangs of barr'd affections ; though the king 
 Hath charg'd you should not speak together. . 
 
 . . . Be brief, I pray you : 
 If the king come, I shall incur I know not 
 How much of his displeasure. — . . . 
 
 . . . Should we be taking leave 
 As long a term as yet we have to live, 
 The loathness to depart would grow. Adieu ! . . . 
 
 . . . Alack, the king ! — 
 Thou basest thing, avoid! hence, from my sight ! 
 If after this command thou fraught the court 
 With thy unworthiness, thou diest: away ! 
 Thou 'rt poison to my blood. — 
 
 The gods protect you ! 
 And bless the good remainders of the court ! 
 I am gone. — [Exit. . . . 
 
 . . . Why came you from yotir master ? — 
 On his command : he would not suffer me 
 To bring him to the haven : left these notes 
 Of what commands I should be subject to. 
 When 't pleas'd you to employ me. — . . . 
 
 . . . About some half-hour hence, 
 I pray you, speak with me ; you shall at least 
 Go see my lord aboard : for this time leave me. — Ibid., i. 2. 
 
 What was the last 
 That he spake to thee ? . . , 
 And that was all ? — 
 
 No, madam ; for so long 
 As he could make me with this eye or ear 
 Distinguish him from others, he did keep 
 The deck, with glove, or hat, or handkerchief. 
 Still waving, as the fits and stir of 's mind 
 Could best express how slow his soul sail'd on. 
 How swift his ship. — Ibid., i. 4. 
 
 Here comes the Briton : let him be so entertained amongst you as suits, with 
 gentlemen of your knowing, to a stranger of his quality. — . . . Let there be covenants 
 drawn between us : my mistress exceeds in goodness the hugeness of your unworthy 
 thinking: / dare you to this match : here's my ring.— I will have it no lay. — By the 
 gods, it is one. — ... Your hand ; a covenant : we will have these things set down by 
 lawful counsel, and straight away for Britain, lest the bargain should catch cold and 
 starve : I will fetch my gold, and have our two wagers recorded. — Agreed. — Ibid., i. 5. 
 
 Whiles yet the dew 's on ground, gather those flowers ; 
 Make haste : who has the note of them ? — 
 
 I, madam. — 
 Despatch. — Ibid., i. 6. 
 
 Madam, a noble gentleman of Rome, 
 Comes from my lord with letters. — . . . 
 
 . . . Thanks, good sir : 
 You are kindly welcome. . . . 
 
 ... I will keep them 
 In my bedchamber. — 
 
 They are in a trunk. 
 Attended by my men ; I will make bold 
 To send them to you, only for this night ; 
 
DRAMATIC TIME. 235 
 
 / must aboard to-morrow. — . . . 
 But not away to-morrow ! — 
 
 O, / must, madam : 
 Therefore I shall beseech you, if you please 
 To greet your lord with writing, do 't to-night. — Cym., i. 7. 
 
 Did you hear of a stranger, that 's come to court to-night ? . . There 's an Italian 
 come ; and, 'tis thought, one of Leonatus' friends. — . . . Come, I '11 go see this Italian 
 what I have lost to-day at bowls, I HI win to-night of him. — Ibid., ii. i. 
 
 What hour is it ? — 
 
 Almost midnight, madam. — 
 I have read three hours, then : mine eyes are weak : 
 Fold down the leaf where I have left : to bed : 
 Take not away the taper, leave it burning ; 
 And if thou canst awake by four 0' the clock, 
 I pr'ythee, call me. Sleep hath seized me wholly. 
 To your protection I commend me, gods ! 
 From fairies, and the tempters of the night. 
 Guard me, beseech ye ! 
 
 {Sleeps. Iachimo comes from the trunk 
 
 sleep, thou ape of death, lie dull upon her ! 
 And be her sense but as a monument, 
 
 Thus in a chapel lying ! Come off, come off ; [Taking off her bracelet. I 
 
 . . . She hath been reading late 
 The tale of Tereus; here the leaf's turned down, 
 Where Philomel gave up. / have enough : 
 To the trunk again, and shut the spring of it. 
 Swift, swift, you dragons of the night, that dawning 
 May bare the raven's eye ! I lodge in fear ; 
 Though this a heavenly angel, hell is here. 
 One, two, three — [Clock strikes] — time, time. — Ibid., ii. z. 
 It 's almost morning, is 't not ? — Day, my lord. — I would this music would come. . 
 Come on, tune : . . . So, get you gone. . . . Here comes the king. — I am glad I was up 
 so late ; for that 's the reason I was up so early : he cannot choose but take this service 
 I have done, fatherly. Good morrow to your majesty. — . . . 
 So like you, sir, the embassadors from Rome ; 
 The one is Caius Lucius. — 
 
 A worthy fellow. 
 Albeit he comes on angry purpose now ; 
 
 . . . Our dear son, 
 When you have given good morning to your mistress, 
 Attend the queen ^and us ; — . . . 
 // she be up, I '11 speak with her ; if not 
 Let her lie still and dream. By your leave, ho ! — 
 What 's your lordship's pleasure ? — 
 Your lady's person : is she ready ? — . . . 
 Good morrow, fairest : sister, your sweet hand. — 
 Good morrow, sir. . , . 
 
 How now, Pisanio ! 
 To Dorothy my woman hie thee presently. 
 
 Go bid my woman 
 Search for a jewel, that too casually 
 Hath left mine arm : it was thy master's ; 'shrew me 
 If I would lose it for a revenue 
 Of any king's in Europe. / do think 
 
 1 saw ^t this morning : confident I am 
 Last night Hwas on mine arm. — Ibid., ii. 3, 
 
 By this, your king 
 Hath heard of great Augustus : Caius Lucius 
 Will do 'j commission throughly : . . . 
 
 . . . See ! Iachimo ! — 
 
236 THE SHAKESPEARE KEY. 
 
 The swiftest harts have posted you by land ; 
 And winds of all the corners kiss' d your sails, 
 To make your vessel nimble. — 
 
 Welcome, sir. — 
 I hope the briefness of your answer made 
 The speediness of your return. — . . . 
 
 . . . I now 
 Profess myself the winner of her honour, 
 Together with your ring, — Cym., ii. 4. 
 
 Now say, what would Augustus CcEsar with us ? — . . . 
 
 . . . War and confusion 
 In Casar's name pronounce I 'gainst thee : look 
 For fury not to be resisted. Thus defied, 
 I thank thee for myself. — Ibid., iii. i. 
 
 Leonatus ! 
 Oh, master ! what a strange infection 
 Is fallen into thy ear ! . . . 
 Thy mind to her is now as low as were 
 Thy fortunes. How ! that I should murder her ? 
 
 . . . [Reading.'] "Do't: the letter 
 That I have sent her by her own command 
 Shall give thee opportunity " — . . . 
 Madam, here is a letter from my lord. — 
 
 . You good gods, 
 Let what is here contain' d relish of love. . . . 
 Oh, for a horse n-ith wings ! Hear'st thou, Pisanio? 
 He is at Milford-Haven : read. . . . 
 
 ... I have heard of riding wagers. 
 Where horses have been nimbler than the sands 
 That run i' the clock's behalf : but this is foolery : 
 Go bid my woman feign a sickness ; say 
 She 'II home to her father : and provide me presently 
 A riding suit, no costlier than would fit 
 A franklin's housewife. — 
 
 Madam, you 're best consider.- 
 / see before me, man : nor here, nor here. 
 Nor what ensues, but have a fog in them. 
 That I cannot look through. Away, I pr'ythee ; 
 Do as I bid thee : there 's no more to say ; 
 Accessible is none but Milford way. — Ibid., iii. 2. 
 
 A goodly day not to keep house, with such 
 
 Whose roof's as low as ours ! Stoop, boys; this gate 
 
 Instructs you how to adore the heavens, and bows 
 
 You to morning's holy office : the gates of monarchs 
 
 Are arch'd so high, that giants may jet through 
 
 And keep their impious turbands on, without 
 
 Good morrow to the sun. Hail, thou fair heaven ! . . . 
 
 Now for our mountain sport : up to yon hill : 
 
 Your legs are young; I '11 tread these flats. . . . 
 
 . . . But, up to the mountains ! 
 This is not hunter's language : he that strikes 
 The venison first, shall be the lord o' the feast. . . . 
 
 . . . Hark, the game is rous'd ! . . . 
 
 . . . The game is up. — Ibid., iii. 3. 
 Thou told'st me, when we came from horse, the place 
 Was near at hand : ne'er long'd my mother so 
 To see me first, as I have now : Pisanio ! man ! 
 Where is Posthumus ? . . . 
 Why tender'st thou that paper to me. . . . 
 . . . My husband's hand ! 
 
DRAMATIC TIME. 237 
 
 . . . Speak, man : thy tongue 
 May take off some extremity, which to read 
 Would be even mortal to me. — . . . 
 What shall I need to draw my sword ? the paper 
 Hath cut her throat already. . . . 
 
 . . . Nay, he brief : 
 I see into thy end, and am almost 
 A man already. — 
 
 First, make yourself but like one. 
 For thinking this, I have already fit 
 i^Tis in my cloak-bag) doublet, hat, hose, all 
 That answer to them. — . . . 
 
 . . . Pr'ythee, away : 
 There 's more to be consider'd ; but we '11 even 
 All that good time will give us ; this attempt 
 I 'm soldier to, and will abide it with 
 A prince's courage. Away, I pr'ythee. — 
 Well, madam, we must take a short farewell. 
 Lest, being miss'd, I be suspected of 
 Your carriage from the court. My noble mistress, 
 Here is a box ; I had it firom the queen : 
 What 's in 't is precious ; if you are sick at sea. 
 Or stomach-qualm'd at land, a dram of this 
 Will drive away distemper. To some shade, 
 And fit you to your manhood. — Cym., iii. 4. 
 My emperor hath wrote ; I must from hence. — . 
 Where is our daughter? She hath not appear'd 
 Before the Roman, nor to us hath tender'd 
 The duty of the day , . . call her before us ; — . . . 
 
 . . . Please you, sir. 
 Her chambers are all lock'd ; and there 's no answer 
 Thai will be given to the loud'st of noise we make. — 
 
 . . . 'Tis certain she is fled. 
 Go in and cheer the king : he rages, none 
 Dare come about him. — 
 
 All the better : may 
 This night forestal him of the coming day ! — . . . 
 Who is here ? What ! are you packing, sirrah ? 
 Come hither: ah, you precious pander ! Villain, 
 Where is thy lady ? In a word ; or else 
 Thou art straightway with the fiends. — Ibid., iii. 5. 
 
 But, what is this ? 
 Here is a path to 't : 'tis some savage hold: 
 
 . . . Ho! No answer? then I ' II enter. — . .. 
 You, Polydore, have prov'd best woodman, and 
 Are master of the feast. — . . . 
 Good masters, harm me not : 
 Before I enter' d here, I calVd; and thought 
 To have begg'd or bought what I have took : . . . 
 
 . , . Here 's money for my meat ; 
 I would have left it on the board, so soon 
 As I had made my meal ; and parted 
 With prayers for the provider. — . . . 
 
 . . . Pr'ythee, fair youth, 
 Think us no churls, nor measure our good minds 
 By this rude place we live in. Well encounter'd ! 
 'Tis almost night : you shall have better cheer 
 Ere you depart ; and thanks to stay and eat it. 
 Boys, bid him welcome. . . . 
 
 Boys, we 'II go dress our hunt. Fair youth, come in : 
 Discourse is heavy, fasting: when we have supp'd. 
 We '11 mannerly demand thee of thy story. — Ibid., iii. 6. 
 
238 THE SHAKESPEARE KEY. 
 
 I am near to the place where they should meet, if Pisanio have mapped it truly. . . . 
 Posthumus, thy head, which now is growing upon thy shoulders, shall within this hour 
 be off; thy mistress enforced : thy garments cut to pieces before thy face ; and all this 
 done, spurn her home to her father; . . . My horse is tied up safe : out, sword, and to a 
 sore purpose ! — Cym., iv. i. 
 
 You are not well : remain here in the cave ; 
 We '11 come to you after hunting. . . . 
 'Tis the ninth hour o' the morn. — . . . 
 
 . . . Pisanio, 
 / 'II now taste of thy drug. — . . . 
 
 . . . To the field, to the field ! 
 We '11 leave you for this time; go in, and rest. — 
 We 'II not be long away. — 
 
 It is great morning. Come, away I who 's there ?^ 
 / cannot find those runagates ; that villain 
 Hath mock'd me ; I am faint. — 
 
 Those runagates ! 
 Means he not us ? I partly know him ; 'tis 
 Cloten, the son o' the queen. — . . . 
 He is but one : you and my brother search 
 What companies are near: pray you away ; 
 Let me alone with him. — . . . 
 
 . . . What hast thou done ? — 
 I am perfect what: cut off one Cloten' s head. 
 Son to the queen, after his own report ; — . . . 
 ... I had no mind 
 To hunt this day : the boy Fidele's sickness 
 Did make my way long forth. — . . 
 We '11 hunt no more to-day, nor seek for danger 
 Where there 's no profit. / pr'ythcc. to our rock : 
 You and Fidele play the cooks : I '11 stay 
 Till hasty Polydore return, and bring him 
 To dinner presently. . . . 
 
 . . . My ingenious instrument ! 
 Hark, Polydore, it sounds ! but what occasion 
 Hath Cadwal now to give it motion ? Hark ! — 
 Is he at home ? — 
 
 He went hence even fiow. . . . 
 
 . . . Look, here he comes, 
 And brings the dire occasion in his arms 
 Of what we blame him for ! — 
 
 The bird is dead. 
 That we have made so much on. . . 
 
 . . . Let us bury him. 
 And not protract with admiration what 
 Is now due debt. To the grave. . . . 
 We have done our obsequies : come, lay him down. — 
 Here 's a few flowers ; but 'bout midnight more : — ... 
 I have gone all night. . . . 
 
 Last night the very gods show'd me a vision. — Ibid., iv. 2. 
 The Roman legions, all from Gallia drawn. 
 Are landed on your coast. . . . 
 
 . . . come more, for more you're ready. — /ijrf., iv. 3. 
 
 I am brought hither 
 Among the Italian gentry, and to fight 
 Against my lady's kingdom.— Zijrf., v. i. 
 It is a day turn'd strangely : or betimes 
 Let's reinforce, or fly. — Ibid., v. 2. 
 
 To-day how many would have given their honours 
 To have sav'd their carcases! — Ibid., v. 3. 
 
DRAMATIC TIME. 239 
 
 You shall not now be stolen, jo« have locks uponyou. — . . . Knock off his manacles ; 
 bring your prisoner to the king. — Cym., v. 4. 
 
 'Tis now the time 
 To ask of 'whence you are ; report it. — . . . 
 
 ... I must report 
 The queen is dead. — . . . 
 
 Why did you throw your wedded lady from you ? 
 Think that you are upon a rock ; and now 
 Throw me again. — . . . 
 Here are your sons again ; — . . . 
 
 . . . The vision 
 Which I made known to Lucius ere the stroke 
 Of this yet scarce-cold battle, at this instant 
 Is full accomplish' d. — Ibid., v. 5. 
 
 While, on the other hand, here are the passages of Long Time, 
 which mention transition, yet which convey the idea of speedy 
 passing : — 
 
 You must be gone ; 
 
 And / shall here abide the hourly shot 
 
 Of angry eyes. — . . . 
 
 ... 7 will remain 
 
 The loyal'st husband that did e'er plight troth : 
 
 My residence in Rome at one Philario's ; 
 
 . . . thither write, my queen. — Ibid., i. 2. 
 Away with her. 
 
 And pen her up . . . 
 
 . . . let her languish 
 
 A drop of blood a day ; and, being aged. 
 
 Die of this folly ! — Ibid., i. 2. 
 
 When shall we hear from him ? — 
 
 Be assur'd, madam. 
 
 With his next vantage. — . . . 
 
 . . . ere I could tell him 
 
 How I would think on him, at certain hours. 
 
 Such thoughts and such ; or I could make him swear 
 
 The shes of Italy should not betray 
 
 Mine interest and his honour ; or have charg'd him, 
 
 At the sixth hour of morn, at noon, at midnight. 
 
 To encounter me with orisons, for then 
 
 I am in heaven for him. — Ibid., i. 4. 
 But how comes it, he is to sojourn with you ? — . . . How worthy he is, I will leave to 
 appear hereafter. — . . . thus far you shall answer: \iyo\i make your voyage u^oti)\&t. 
 and give me directly to understand you have prevail'd, I am no farther your enemy. — 
 ... we will have these things set down by lawful counsel, and straight away for 
 Britain. — Ibid., i. 5. 
 
 Weeps she still, say'st thou ? Dost thou think, in time 
 
 She will not quench, and let instructions enter 
 
 Where folly now possesses ? — Ibid., i. 6. 
 
 A father cruel, and a step-dame false ; 
 
 A foolish suitor to a wedded lady, 
 
 That hath her husband banished ; — . 
 
 Madam, a noble gentleman of Rome, 
 
 Comes from my lord with letters. — . . . 
 
 Continues well my lord ? his health, ' beseech you ? — 
 
 Well, madam. — 
 
 Is he dispos'd to mirth ? I hope he is. — 
 
 Exceeding pleasant ; none a stranger there 
 
 So merry and so gamesome : he is call'd 
 
 The Briton reveller. — 
 
240 THE SHAKESPEARE KEY. 
 
 When he was here. 
 He did incline to sadness ; and oft-times 
 Not knowing why. — 
 
 I never saw him sad. . . . 
 . . . Join gripes with hands 
 Made hard with hourly falsehood. — . . . 
 
 My lord, I fear, 
 Hath forgot Britain. — . . . 
 
 . . . From Gallia 
 I cross'd the seas on purpose, and on promise 
 To see your grace. — Cym., i. 7. 
 
 Alas, poor princess, 
 Thou divine Imogen, what thou endttr'st ! 
 Betwixt a father by thy stepdarae govern'd ; 
 A mother hourly coining plots ; a wooer 
 More hateful than the foul expulsion is 
 Of thy dear husband.^/6t(f., ii. i. 
 I am advised to give her music 0' mornings. . . . 
 The exile of her minion is too new ; 
 She hath not yet forgot him : some more time 
 Must wear the print of his remembrance out. 
 And then she 's yours. — . . . 
 So like you, sir, embassadors /rom Rome. — Ibid., ii. 3. 
 
 What means do you make to him ? — 
 Not any ; but abide the change of time ; 
 Quake in the present winter's state, and wish 
 That warmer days would come. — - . . . 
 Was Caius Lucius in the Britain court 
 When you were there ? — 
 
 He was expected then. 
 But not approached. — 
 /'// make a journey twice as far, to enjoy 
 A second night of such sweet shortness which 
 Was mine in Britain. — Ibid., ii. 4. 
 
 His majesty bids you welcome. Make pastime with us a day or two, or longer : 
 if you seek us afterwards in other terms, you shall find us in our salt-water girdle.— 
 Ibid., iii. I. 
 
 Madam, here is a letter from my lord. — . . . 
 . . . read, and tell me 
 How far 'tis thither. If one of mean affairs 
 May plod it in a week, why may not I 
 Glide thither in a day ? Then, true Pisanio 
 (Who longest, like me, to see thy lord). . . . 
 . . . Say, and speak thick, 
 . . . how far it is 
 To this same blessed Milford. . . . 
 
 . . . But, first of all. 
 How we may steal from hence ; and, for the gap 
 That we shall make in time, from our hence-going 
 And our return, to excuse. . . 
 How many score of miles may we well ride 
 'Twixt hour and hour ? — 
 
 One score iwixt sun and sun. 
 Madam, 's enough for you, and too much too. — 
 Why, one that rode to 's execution, man, 
 Could never go so slow. — Ibid., iii. 2. 
 
 False to his bed I What is it to be false ? 
 
 To lie in watch there, and to think on him ? 
 
 To weep 'twixt clock and clock ? if sleep charge nature, 
 
 To break it with a fearful dream of him. 
 
DRAMATIC TIME. 241 
 
 And cry myself awake ? that 's false to his bed, 
 Is it? 
 
 . . . O, gracious lady, 
 Since I receiv'd command to do this business, 
 I have not slept one wink, — . . . 
 
 . . . Wherefore, then 
 Didst undertake it ? Why hast thou abus'd 
 So many miles with a pretence ? this place ? 
 Mine action, and thine own ? our horses' labour ? 
 The time inviting thee ? the perturb'd court. 
 For my being absent ; whereunto I never 
 Purpose return ? Why hast thou gone so far. 
 To be unbent, when thou hast ta'en thy stand, 
 Th' elected deer before thee ? — 
 
 But to win time. 
 To lose so bad employment. . . . 
 I '11 give but notice you are dead, and send him 
 Some bloody sign of it ; for 'tis commanded 
 I should do so : you shall be miss'd at court, 
 And that will well confirm it. — 
 
 Why, good fellow. 
 What shall I do the while ? where bide ? how live ? — 
 
 . . . Th' embassador, 
 Lucius the Roman, comes to Milford-Haven 
 To-morrow ; now, if you could wear a mind 
 Dark as your fortune is, and but disguise 
 That which, to appear itself, must not yet be 
 But by self-danger, you should tread a course 
 Pretty and full of view ; yea, haply, near 
 The residence of Posthumus — so nigk, at least, 
 That though his actions were not visible, yet 
 Report should render him hourly to your ear, 
 As truly as he moves. — . . . 
 
 . . . 'fore noble Lucius 
 Present yourself, desire his service, . . , 
 
 . . . Your means abroad. 
 You have me, rich ; and I will never fail 
 Beginning nor supplyment. . . . 
 
 . . . We must take a short farewell, ' 
 Lest, being missed, I be suspected of 
 Your carriage from the court. My noble mistress. 
 Here is a box ; I had it from the queen : 
 What 's in 't is precious ; if you are sick at sea. 
 Or stomach-qualm'' d at land, a dram of this 
 Will drive away distemper. — Cym., iii. 4. 
 My emperor hath wrote; I must from hence ; 
 ... I desire of you 
 A conduct over-land to Milford-Haven. . . . 
 
 . . . Your hand, my lord. — 
 Receive it friendly ; but from this time forth 
 I wear it as your enemy. — 
 
 Sir, the event 
 Is yet to name the winner : fare you well. — 
 Leave not the worthy Lucius, good my lords. 
 Till he have cross'd the Severn. — Ibid., iii. 5. 
 Since the exile of Posthumus, most retir'd 
 Hath her life been ; the cure whereof, my lord, 
 'Tis time must do . . . when last I went to visit her. 
 She pray'd me to excuse her keeping close ; 
 Whereto con strain d by her infirmity. 
 She should that duty leave unpaid to you 
 
242 THE SHAKESPEARE KEY. 
 
 Which daily she was bound to proffer : this 
 
 She wish'd me to make known ; but our great court 
 
 Made me to blame in memory. — 
 
 Her doors lock'd ? 
 
 Not seen of late ? — . . . 
 
 That man of hers, Pisanio, her old servant, 
 
 / have not seen these two days. — . . . 
 
 How can she be with him? When was she niiss'd? 
 
 He is in Rome. — . . . 
 
 She 's far enough ; and what he learns by this, 
 
 May prove his travel, not her danger. — . . . 
 
 / 'il write to my lord she 's dead. O Imogen ! 
 
 Safe may'st thou wander, safe return again ! — . . . 
 Hast any of thy late master's garments in thy possession ? — I have, my lord, at my 
 lodging, the same suit he wore when he took leave of my lady and mistress. — . . . 
 Meet thee at Milford-Haven ! . . . Even there, thou villain Posthumus, will I kill 
 thee. . . . She said upon a time (the bitterness of it I now belch from my heart) that 
 she held the very garment of Posthumus in more respect than my noble and natural 
 person . . . to the court I ''II knock her back, foot her home again. , . . How long 
 is 't since she went to Milford-Haven ? — She can scarce be there yet. — Cym., iii. 5. 
 
 I see, a man's life is a tedious one : 
 I have tir'd myself; a.nifor two nights together 
 Have made the ground my bed. I should be sick. 
 But that my resolution helps me. Milford, 
 When from the mountain-top Pisanio show d thee, 
 Thou wast within a ken : O Jove ! I think 
 Foundations fly the wretched. — Ihid., iii. 6. 
 
 To them the legions garrisoned in Gallia, 
 
 . . . H&ve cross' d the sea; attending 
 You here at Milford-Haven with your ships : 
 They are in readiness. — 
 
 But what /rom Rome } — 
 The senate hath stirr'd up the confiners 
 .'Vnd gentlemen of Italy; most willing spirits. 
 That promise noble service : and they come 
 Under the conduct of bold lachimo, 
 Sienna's brother. — 
 
 When expect you them ? — 
 With the next benefit 0' the wind. — Ibid., iv. 2. 
 
 A fever with the absence of her son ; 
 A madness, of which her life's in danger. — . 
 . . . for my mistress. 
 I nothing know where she remains, why gone. 
 Nor K'hen she purposes return. — . . . 
 The day that she was missing he was here : — 
 
 The time is troublesome. 
 We 'II slip you for a season ; but our jealousy 
 Does yet depend. — . . . 
 / heard no letter from my master, since 
 I wrote him Imogen was slain : 'tis strange ; 
 Nor hear I from my mistress, who did promise 
 To yield me often tidings ; neither know I 
 What is betid to Cloten ; but remain 
 Pcrplex'd in all. . . . 
 
 These present wars shall find I love my country. . . . 
 All other doubts, by time let them be cleared. — Ibid., iv. 3. 
 
 Upon a time (unhappy was the clock 
 
 That struck the hour !), it was in Rome (accursed 
 
 The mansion where!), 'toas ni a/e«ii. . . . 
 
 ... the good Posthtimus, 
 
DRAMATIC TIME. 243 
 
 .... sitting sadly, 
 Hearing us praise our loves of Italy . . . 
 
 . . . He, true knight. 
 No lesser of her honour confident 
 Than I did truly find her, stakes this ring ; 
 
 . . . Away to Britain 
 Post I in this design : well may you, sir. 
 Remember me at court ; where I was taught 
 Of your chaste daughter the wide difference 
 'Twixt amorous and villanous .... 
 And, to be brief, my practice so prevail'd, 
 That / returvid with simular proof enough 
 To make the noble Leonatus mad. — Cym., v. 5. 
 
 but her son 
 Is gone, we know not how, nor where. — 
 
 My lord. 
 Now fear is from me, I '11 speak troth. Lord Cloten, 
 Upon my lady's missing, came to me 
 
 With his sword drawn ; foam'd at the mouth, and swore, 
 If I discover'd not which way she was gone. 
 It was my instant death. By accident, 
 I had a feign'd letter of my master's 
 Then in my pocket ; which directed him 
 To seek her on the mountains near to Milford. — Ibid., v. 5. 
 
 Did you e'er meet ? — 
 Ay, my good lord. — 
 
 And at first meeting lov'd ; 
 Continu'd so, until we thought he died. — . . . 
 
 . . . Where? how liv'd you ? 
 And when came you to serve our Roman captive ? 
 How parted with your brothers ? how first met them ? 
 Why fled you from the court ? and whither ? These 
 And your three motives to the battle, with 
 I know not how much more, should be demanded ; * 
 And all the other by-dependencies. 
 From chance to chance : but nor the time nor place 
 Will serve our long inter'gatories. — Ibid., v. 5. 
 
 In Shakespeare's four Chorus-Plays he has availed himself of the 
 means supplied by the intervention of a Chorus for stating' certain gaps 
 of time necessary to be understood by the audience ; as, more modernly, 
 the French dramatists have intimated different periods in the same 
 drama by styhng such dramas " pieces a deux epoques," and the 
 English dramatists have done by announcing that an interval [of so 
 many days, weeks, months, or years, as the case may be] is supposed 
 to take place between the acts. But though, in common with other 
 playwriters of his own time, Shakespeare has, in these four plays, 
 introduced the machinery of a Chorus, he has not failed also to intro- 
 duce his own system of dual Dramatic Time ; interfusing simultaneous 
 Short Time and Long Time during the progress of the acts and scenes. 
 In " The Winter's Tale " he has brought in " Time, as Chorus," at the 
 commencement of act iv., by way of marking the interval of " sixteen 
 years " which has elapsed between the desertion of the infant Perdita 
 by Antigonus at her father's command and her betrothal to Florizel 
 when she appears as queen of the sheep- shearing festival ; yet he has 
 likewise indicated the progress of time in other passages of this play. 
 
 R 2 
 
244 r^S SHAKESPEARE KEY. 
 
 First, then, for the enumeration of those passages which indicate 
 Short Time : — 
 
 If you shall chance, Camillo, to visit Bohemia, on the like occasion whereon my 
 services are now on foot. — W. T., i. i. 
 
 Stay your thanks awhile, 
 And pay them when you part. — 
 
 Sir, that's to-morrow. . . . 
 
 . . . No longer stay. — 
 One seven-night longer. — 
 
 Very sooth, to-morrow. . . . 
 
 . . , Is he won yet ? — 
 He HI stay, my lord. — . . . 
 
 ... If you would seek us. 
 We are yours i' the garden. . . . 
 Here comes Bohemia. — . . . 
 Good day, Camillo. — . . . 
 The king hath on him such a countenance. 
 As he had lost some province, and a region 
 Lov'd as he loves himself: even now I met him 
 With customary compliment ; when he, 
 Wafting his eyes to the contrary, and falling 
 A lip of much contempt, speeds from me. . . . 
 
 . . . Mark my counsel, 
 Which must be even as swiftly followed as 
 I mean to utter it. . . . 
 I am appointed him to murder you. — 
 By whom, Camillo ? — 
 
 By the king. — 
 
 For what ? — 
 He thinks, nay, with all confidence he swears. 
 As he had seen 't, or been an instrument 
 To vice you to 't, that you have touch'd his queen 
 Forbiddenly. — . . . 
 
 If, therefore, you dare trust my honesty — 
 That lies inclosed in this trunk, which you 
 Shall bear along impawn'd — away to-night. 
 Your followers I will whisper to the business ; 
 And will, by twos and threes, at several posterns 
 Clear them o' the city : for myself, I '11 put 
 My fortunes to your service, which are here 
 By this discovery lost. Be not uncertain ; . . . 
 
 . . . Give me thy hand : 
 Be pilot to me, and thy places shall 
 Still neighbour mine. My ships are ready, and 
 My people did expect my hence departure 
 Two days ago. . . . 
 
 . . . Come, Camillo ; 
 I will respect thee as a father, if 
 Thou bear'st my life off hence : let us avoid. — 
 It is in mine authority to command 
 The keys of all the posterns : please your highness 
 To take the ttrgent hour : come, sir, away ! — Ibid., i. 2. 
 
 The queen, your mother, rounds apace. . . . 
 
 . . . Come, sir, now 
 I am for you again ; pray you, sit by us, 
 And tell 's a tale. — 
 
 Merry or sad shall 't be ? — 
 As merry as you will. — 
 
 A sad tale's best/o»' winter. 
 I have one of sprites and goblins. — 
 
DRAMATIC TIME. 245 
 
 Let 's have that, good sir. 
 Come on ; sit down : come on. ... 
 
 . . . Nay, come, sit down ; thenon. — W. T.,\\. i. 
 Was he met there ? his train ? Camillo with him ? — 
 Behind the tuft of pines I met them ; never 
 Saw I men so scour on their way : I ey'd them 
 Even to their ships. — . . . 
 
 ... 7 have said 
 She 's an aduWress ; I have said with whom : 
 More, she 's a traitor ; and Camillo is 
 Afederary with her. . . . 
 
 . . . Away with her to prison I . . . 
 . . . Camilla's flight. 
 Added to their familiarity, . . . 
 
 . . . doth push on this proceeding. — Ibid., ii. i. 
 On her frights and griefs 
 (Which never tender lady hath borne greater) , 
 She is, something before her time, delivered. — . . , 
 Commend my best obedience to the queen : 
 If she dares trust me with her little babe, 
 I HI show H the king, and undertake to be 
 Her advocate to the loud'st. — . . . 
 
 I'll presently 
 Acquaint the queen of your most noble offer ; 
 Who, but to-day, hammer'd of this design. — Ibid., ii. 21 
 How does the boy ? — 
 
 He took good rest to-night ; . . . 
 Madam, he hath not slept to-night; commanded 
 None should come at him. — 
 
 Not so hot, good sir : 
 / come to bring him sleep. . . I 
 Do come with words as med'cinal as true. 
 Honest as either, to purge him of that humour 
 That presses him from sleep. . . . 
 ... 7 say, I come 
 From your good queen. — . . . The good queen. 
 For she is good, hath brought you forth a daughter ; 
 Here 'tis ; commends it to your blessing. — . . . 
 My child ? away with 't ! even thou, that hast 
 A heart so tender 'er it, take it hence. 
 And see it instantly consum'd with fire ; 
 Even thou, and none but thou. Take it up straight : 
 Within this hour bring me word ' tis done. . . 
 I am a feather for each wind that blows : . . . 
 
 . . . But, be it; let it live : 
 It shall not neither. . . . We enjoin thee. 
 As thou art liegeman to us, that thou carry 
 This female bastard hence. . . . Take it up. — 
 7 swear to do this, though a present death 
 Had been more merciful. Come on, poor babe : . . . 
 Poor thing, condemn'd to loss ! . . . 
 
 . . . Please your highness, posts. 
 From those you sent to the oracle, are come 
 An hour since : Cleomenes and Dion, 
 Being well arriv'd from Delphos, are both landed. 
 Hasting to the court. — 
 
 So please you, sir, their speed 
 Hath been beyond account. — 
 
 . . . 'Tis good speed ; foretells 
 The great Apollo suddenly will have 
 The truth of this appear. Prepare you, lords ; 
 
246 THE SHAKESPEARE KEY. 
 
 ' Summon a session, that we may arraign 
 Our most disloyal lady. — W. T., ii. 3. 
 This sessions (to our great grief, we pronounce) 
 Even pushes 'gainst our heart ; the party tried, 
 The daughter of a king, our wife, and one, 
 Of us too much belov'd. . 
 Produce the prisoner . . . 
 Read the indictment, , . , 
 
 . . . for behold me, — 
 A fellow of the royal bed, which owe 
 A moiety of the throne, a great king's daughter, 
 The mother to a hopeful prince, here standing 
 To prate and talk for life and honour fore 
 Who please to come and hear. — . . . 
 
 . . . lastly, hurried 
 Here to this place, i ' the open air, before 
 I have got strength of limit. . . . 
 Hast thou read truth ? — 
 
 Ay, my lord ; even so 
 As it is here set down. — 
 There is no truth at all i ' the oracle : 
 The sessions shall proceed : this is mere falsehood. — 
 My lord the king, the king ! — . . . 
 The prince your son, with mere conceit and fear 
 Of the queen's speed, is gone. — 
 
 How ! gone ! — 
 
 Is dcad.- 
 This news is mortal to the queen : look down. 
 And see what death is doing. — 
 
 Take her hence : 
 Her heart is but o'ercharged ; she will recover : 
 I have too much believ'd mine own suspicion : 
 Beseech you, tenderly apply to her 
 Some remedies for life. — . . . 
 
 . . . The queen, the queen. 
 The sweet'st, dear'st creature 's dead. — Ibid., iii. 2. 
 Thou art perfect, then, our ship hath touch'd upon 
 The deserts of Bohemia? — 
 
 Ay, my lord ; and fear 
 We have landed in ill time : the skies look grimly, 
 And threaten present blusters. In my conscience, 
 The heavens with that we have in hand are angry. 
 And frown upon us. — 
 
 Their sacred wills be done ! Go, get aboard ; 
 Look to thy bark : / 'II not be long before 
 I call upon thee. — 
 Make your best haste ; and go not 
 Too far i' the land : 'tis like to be loud weather ; 
 Besides, this place is famous for the creatures 
 Of prey that keep upon 't. — 
 
 Go thou away : 
 I 'II follow instantly. — 
 
 I am glad at heart 
 To be so rid o' the business. — 
 
 Come, poor babe : 
 . . . Blossom, speed thee well ! 
 There lie ; and there thy character : there these ; 
 Which may, if fortune please, both breed thee, pretty, 
 And still rest thine. The storm begins. . . . 
 
 . . . Farewell! 
 The day frowns more and more ; thou art like to have 
 
DRAMATIC TIME. 247 
 
 A lullaby too rough : I never saw 
 
 The heavens so dim by day. A savage clamour ! 
 
 Well may I get aboard ! This is the chase : 
 
 I am gone-for ever, — W. T., iii. 3. 
 
 Name of mercy ! when was this, boy ? — 
 Now, now ; I have not winked since I saw these sights : the men are not yet cold under 
 water, nor thebear half dined onthe gentleman, he's at it now. — . . . Thou met'st with 
 things dying, I with things new born. Here 'i a sight for thee ; . . . home, home, the 
 next way ... let my sheep go : come, good boy, the next way home. — Go you the next 
 way with your findings. I 'U go see if the bear be gone from the gentleman, and how 
 much he hath eaten ... if there be any of him left, I'll bury it. — . . . 'Tis a lucky 
 day, boy, and we '11 do good deeds on 't. — Ibid., iii. 3. 
 
 Now take upon me, in the name of Time, 
 
 To use my wings. Impute it not a crime 
 
 To me or my swift passage, that I slide 
 
 O'er sixteen years, and leave the growth untried 
 
 Of that wide gap ; since it is in my power 
 
 To o'erthrow law, and in one self-born hour 
 
 To plant and o'erwhelm custom. . . . 
 
 . . . Your patience this allowing, 
 
 / turn my glass, and give my scene such growing. 
 
 As you had slept between. . . . 
 
 . . . imagine me. 
 
 Gentle spectators, that I now may be 
 
 In fair Bohemia; and remember well, 
 
 I mentioned a son o' the king's, which Florizel 
 
 I now name to you ; and with speed so pace 
 
 To speak of Perdita. — Ibid., iv. [Chorus). 
 The penitent king, my master, hath sent for me ; to whose feeling sorrows I might 
 be some allay, or I o'erween to think so, which is another spur to my departure. — As 
 
 thou lovest me, Camillo, wipe not out the rest of thy services by leaving me uwu,: 
 
 Ibid., iv. I. 
 
 I have served prince Florizel. . . . but tww I am out of service. — Ibid., iv. 2. 
 This your sheep-shearing 
 Is as a meeting of tfi£ petty gods, 
 And you the queen on 't. — . . . 
 
 . . . See, your guests approach : . . . 
 Fie, daughter ! when my old wife liv'd, upon 
 This day she was both pantler, butler, cook ; 
 Both dame and servant. . . . 
 
 . . . You are retir'd, 
 As if you were a feasted one, and not 
 The hostess of the meeting: pray you, bid 
 These unknown friends to us welcome. . . . 
 
 . . . Come on. 
 And bid us welcome to your sheep-shearing., 
 As your good flock shall prosper. — 
 
 Sir, welcome : 
 It is my father's will, I should take on me 
 The hostess-ship 0' the day ; you 're welcome, sir. . . , 
 
 . ■- . Sir, the year growing ancient — 
 Not yet on summer's death, nor on the birth 
 Of trembling winter — the fairest flowers o' the season 
 Are our carnations. . . . 
 Let 's see these four threes of herdsmen . . . let them come in, but quickly no'.v. — 
 Why, they stay at door, sir. — . . . 'Tis time to part them. 
 , . . Take hands, a bargain ! . . . 
 
 . . . Come on. 
 Contract us 'fore these witnesses. — 
 
 Come, your hand ; 
 
24S THE SHAKESPEARE KEY. 
 
 And, daughter, yours. — . . . 
 
 Mark our contract. — 
 
 Mark your divorce, young sir. . . . 
 . . . Undone, undone ! 
 
 If I might die within this hour, I have liv'd 
 
 To die when I desire. — . . . 
 
 . . . Gracious my lord, 
 
 You know your father's temper : at this time 
 
 He will allow no speech. — . . . 
 For the outside of thy poverty, we must make an exchange ; therefore disease thee 
 instantly, . . . and change garments with this gentleman. . . . Nay, pr'ythcc. 
 despatch ; the gentleman is half flayed already. — . . . Despatch, I pr'ythee. — . . 
 Unbuckle, unbuckle. 
 
 Fortunate mistress — let my prophecy 
 
 Come home to ye ! — you must retire yourself 
 
 Into some covert : take your sweetheart's hat 
 
 And pluck it o'er your brows; muffle your face I 
 
 Dismantle you, and, as you can, disliken 
 
 The truth of your own seeming; that you may 
 
 (For I do fear eyes over) to shipboard 
 
 Get undescried. . . . 
 
 What I do next, shall be to tell the king 
 
 Of this escape, and whither they are bound ; 
 
 Wherein, my hope is, I shall so prevail 
 
 To force him after : in whose company 
 
 I shall review Sicilia, for whose sight 
 
 I have a woman's longing. — 
 
 Fortune speed us ! 
 
 Thus we set on, Camillo, to the sea-side. — 
 
 The swifter speed the better. — . . . 
 The prince himself is about a piece of iniquity, stealing away from his father. . . 
 There lies such secrets in this fardel and box, which none must know but the kirn?: 
 and which he shall know within this hour, if I may come to the speech of him. . . 
 Tell me (for you seem to be honest plain men) what you have to the king; bein--' 
 something gently considered, I'll bring you where he is aboard. — W. T., iv. 3. 
 
 What were more holy 
 Than to rejoice the former queen is well .' 
 What holier than — for royalty's repair, 
 For present comfort, and for future good — 
 To bless the bed of majesty again 
 With a sweet fellow to 't ? — . . . 
 
 . . . Had our prince 
 (Jewel of children) seen this hour, he had pair'd 
 Well with this lord. — . . . 
 
 . . . By his command 
 Have I here touch'd Sicilia, and from him 
 Give you all greetings, that a king, at friend, 
 Can send his brother. — . . . 
 
 . . . Please you, great sir, 
 Bohemia greets you from himself by me ; 
 Desires you to attach his son, who has 
 (His dignity and duty both cast off) 
 Fled from his father, from his hopes, and with 
 A shepherd's daughter. — 
 
 Where 's Bohemia ? Speak. — 
 Here in your city ; I now came from him : . . . 
 He 's with the king your father. — 
 
 Who? Camillo?— 
 Camillo, sir; I spake with him; who now 
 Has these poor men in question. — . . . 
 
 . . . / will to your father : 
 
DRAMATIC TIME. 249 
 
 Your honour not o'erthrown by your desires, 
 
 I 'm friend to them and you : upon which errand 
 
 I now go toward him. — W, T., v. i. 
 Beseech you, sir, were fou present at this relation ? — / was by at the opening of the 
 fardel, heard the old shepherd deliver the manner how he found it. . . . Here comes a 
 gentleman that happily knows more. The news, Rogero? — Nothing but bonfires: the 
 oracle is fulfilled; the king^s daughter is found : such a deal of wonder is broken out 
 within this hour, that ballad-makers cannot be able to express it. Here comes the lady 
 Paulina' s steward : he can deliver you more. How goes it now, sir.' — . . . Did you 
 see the meeting of the two kings ? — No. — Then have you lost a sight, which was to be 
 seen, cannot be spoken of. . . . Are they returned to the court ? — JVo ; the princess 
 hearing of her mother's statue, which is in the keeping of Paulina . . . thither with 
 all greediness of affection are they gone ; and there they intend to sup. — . . . Shall we 
 thither, and with our company piece the rejoicing ? — Who would be thence that has 
 the benefit of access ? every wink of an eye, some new grace will be born : our absence 
 makes us unthrifty to our knowledge. Let 's along. — . . Here come those I have 
 done good to against my will, and already appearing in the blossoms of their fortune. — 
 ... I know you are now, sir, a gentleman born. — Ay, and have been so any time 
 these four hours. — . . . Hark! the kings and the princes, our kindred, are going to 
 see the queen's picture. — Ibid., v. 2. 
 
 That you have vouchsaf'd 
 
 With your crown'd brother, and these your contracted 
 
 Heirs of your kingdoms, my poor house to visit. 
 
 It is a surplus of your grace, which never 
 
 My life may last to answer. — . . . 
 . . . we came 
 
 To see the statue of our queen : — . . . 
 
 . . . here it is : prepare 
 
 To see the life as lively mock'd, as ever 
 
 Still sleep mock'd death : behold I and say, His well. — . . 
 . . . But yet, Paulina, 
 
 Hermione was not so much wrinkled, nothing 
 
 So aged as this seems. — 
 
 Oh, not by much. — 
 
 So much the more our carver's excellence ; 
 
 Which lets go by some sixteen years, and makes her 
 
 As she liv'd now. — 
 
 As now she might have done 
 
 So much to my good comfort, as it is 
 
 Now piercing to my soul. Oh, thus she stood, 
 
 Even with such life of majesty (warm life. 
 
 As now it coldly stands), when first I woo'd her 
 . . . Lady, 
 
 Dear queen, that ended when I but began, 
 
 Give me that hand of yours to kiss. — 
 
 Oh, patience ! 
 
 The statue is but newly fix'd, the colour's 
 
 Not dry. . . . Either forbear, 
 
 Quit presently the chapel, or resolve you 
 
 For more amazement. If you can behold it, 
 
 / '// m.ake the statue move indeed, descend, 
 
 A nd take you by the hand. . . . 
 
 . . . Music, awake her ; strike I 
 
 'Tis time ; descend; be stone no more ; approach; 
 
 Strike all that look upon with marvel. Come ; 
 
 I'll fill your grave up : stir; nay , come away ; 
 
 Bequeath to death your numbness, for from him 
 
 Dear life redeems you. You perceive, she stirs.— . . , 
 . . . Oh, she 's warm ! 
 
 If this be magic, let it be an art 
 
 Lawful as eating. — 
 
25° THE SHAKESPEARE KEY. 
 
 She embraces him. — 
 She hangs about his neck ; 
 If she pertain to life, let her speak too. — 
 
 . . Mark a little while. 
 Please you to interpose, fair madam : kneel. 
 And pray your mother's blessing. Turn, good lady ; 
 Our Perdita is found. . . . 
 
 . . . Oh, peace, Paulina ! 
 Thou shouldst a husband take by my consent, 
 As I by thine, a wife : this is a match, 
 And made between 's by vows. Thou hast found mine ; 
 
 . . . I'll not seek far 
 (For him, I partly know his mind) to find thee 
 An honourable husband. Come, Camilla, 
 And take her by the hand, whose worth and honesty 
 Is richly noted, and here justified 
 By us, a pair of kings. Let 'sfrom this place. . . 
 
 . . . hastily lead away. — W. T., v. 3. 
 
 And secondly, for the enumeration of those passages which indicate 
 Long Time : — 
 
 If you shall chance, Camillo, to visit Bohemia, . . . you shall see, as I have said, 
 great difference betwixt our Bohemia and your Sicilia. — I think, this coming summer, 
 the King of Sicilia means to pay Bohemia the visitation which he justly owes him. — 
 Ibid., i. I. 
 
 Nine changes of the watery star have been 
 
 The shepherd's note, since we have left our throne 
 
 Without a burden. . . . 
 
 . . . No longer stay. — 
 One seven-night longer. — 
 
 Very sooth, to-morrow. — 
 Yet of your royal presence I '11 adventure 
 The borrow of a week. When at Bohemia 
 You take my lord, I 'II give him my commission. 
 To let him there a month behind the gest 
 Prefix'd for's parting. . . . 
 
 ... I think, most understand 
 Bohemia stays here longer. — 
 
 Ha ?— 
 
 Stays here longer. — Ibid., i. 2. 
 
 We shall 
 Present our services to a fine new prince. 
 One of these days ; and then you 'd wanton with us, 
 If we would have you. — ■ 
 
 She is spread of late 
 Into a goodly bulk: good time encounter her ! — Ibid., ii. i. 
 
 How will this grieve you. 
 When you shall come to clearer knowledge, that 
 You thus have publish'd me. . . . 
 I must be patient till the heavens look 
 With an aspect more favourable. — Ibid., ii. 1. 
 I have despatch'd in post 
 To sacred Delphos, to Apollo's temple, 
 Cleomenes and Dion, whom you know 
 Of stuft'd sufficiency ; now, from the oracle 
 They will bring all. — Ibid., li. i. 
 Nor night, nor day, no rest : it is but weakness 
 To bear the matter thus — mere weakness. . . . 
 Conceiving the dishonour of his mother. 
 He straight declin'd, droop'd, took it deeply, 
 
DRAMATIC TIME. 251 
 
 Fasten'd and fix'd the shame on 't in himself, 
 Threw off his spirit, his appetite, his sleep, 
 And downright languish'd . . . 
 
 . , , let him be, 
 Until a time serve. — W. T., ii. 3. 
 
 We enjoin thee, 
 As thou art liegeman to us, that thou carry 
 This female bastard hence ; and that thou bear ii 
 To some remote and desert place, qttiie out 
 Of our dominions. — Ibid., ii. 3. 
 
 Twenty-three days 
 They have been absent. — Ibid., ii. 3 
 
 If the event o' the journey 
 Prove as successful to the queen — oh, be 't so ! — 
 As it hath been to us rare, pleasant, speedy. 
 The time is worth the use on 't. — Ibid., iii. i. 
 You here shall swear upon this sword of justice. 
 That you, Cleomenes and Dion, have 
 Been both at Delphos ; and from thence have brought 
 This seal'd-up oracle, by the hand deliver'd 
 Of great Apollo's priest ; and that, since then, 
 You have not dar'd to break the holy seal, 
 Nor read the secrets in 't. — Ibid., iii. 2. 
 
 Once a day I HI visit 
 The chapel where they lie ; and tears shed there 
 Shall be my recreation : so long as nature 
 Will bear up with this exercise, so long 
 I daily voti> to use it. — Ibid., iii. z. 
 
 If such thing be, thy mother 
 Appear'd to me last night ; for ne'er was dream 
 So like a waking. — Ibid., iii. 3. 
 
 Impute it not a crime 
 To me or my swift passage, that I slide 
 O'er sixteen years, and leave the growth untried 
 Of that wide gap. — Ibid., iv. [Chorus). 
 
 It is fifteen years since I saw my country, ... It is three days since I saw the 
 prince. — Ibid., iv. i. 
 
 / have served Prince Florizel, and, in my time, wore three-pile. — Ibid., iv. 2. 
 
 I bless the time 
 When my good falcon made her flight across 
 Thy father's ground. — . . . 
 
 ... He says he loves my daughter : 
 I think so too ; for never gaz'd the moon 
 Upon the water, as he 'II stand, and read. 
 As Hwere, my daughter's eyes. — . . . 
 How often have I told you 'twould be thus ! 
 How often said my dignity would last 
 But till 'twere known ! — . . . 
 As you have ever been my father's honour'd friend, 
 When he shall miss me (as, in faith, I mean not 
 To see him any more), cast your good counsels 
 Upon his passion : let myself and fortune 
 Tug for the time to come. — . . . 
 
 . . . Now were I happy, if 
 His going I could frame to serve my turn ; 
 Save him from danger, do him love and honour ; 
 Purchase the sight again of dear Sicilia, 
 And that unhappy king, my master, whom 
 I so much thirst to see. . . . 
 
252 THE SHAKESPEARE KEY. 
 
 . . . Have you thought on 
 Any place whereto you '11 go ? — 
 
 Not any yet: — . . . 
 . . . Make for Sicilia ; 
 And there present yourself and your fair princess 
 [For so, I see, she must be) fore Leontes. . . . 
 Nay, but my letters, by this means being there 
 So soon as you arrive, shall clear that doubt. — W. T., iv. 3. 
 For has not the divine Apollo said, 
 Is 't not the tenour of his oracle. 
 That king Leontes shall not have an heir, 
 Till his lost child be found? — Ibid., v. i. 
 She came from Libya. — 
 
 Where the vifarlike Smalus, 
 That Tioble honour'd lord, is fear'd and lov'd ? — 
 Most royal sir, from thence ; from him, whose daughter 
 His tears proclaim'd his, parting with her : thence 
 (A prosperous south wind friendly) we have cross'd 
 To execute the charge my father gave me. 
 For visiting your highness : my best train 
 I have from your Sicilian shores dismiss'd ; 
 Who for Bohemia bend, to signify 
 Not only my success in Libya, sir. 
 But my arrival, and my wife's, in safety 
 Here where we are. — 
 
 The blessed gods 
 Purge all infection from our air, whilst you 
 Do climate here ! — Ibid., v. i. 
 
 Meets he on the way 
 The father of this seeming lady, and 
 Her brother, having both their country quitted 
 With this young prince. — 
 
 Camillo has betray'd me ; 
 Whose honour and whose honesty, till now, 
 Endur'd all weathers. — Ibid., v. i. 
 
 The princess, hearing of her mother's statue, which is in the keeping of Paulina — 
 a piece many years in doing, and now newly performed by that rare Italian master. 
 Julio Romano. — ... I thought she had some great matter there in hand ; for she hath 
 privately twice or thrice a day, ever since the death of Hermione, visited that removed 
 house.— Ibid., v. 2. 
 
 I brought the old man and his son aboard the prince ; told him I heard them talk of 
 a fardel, and I know not what : but he at that time, over-fond of the shepherd's 
 daughter (so he then took her to be), who began to be much sea-sick, and himself little 
 better, extremity of weather continuing, this mystery remained undiscovered. — . . . You 
 are well met, sir. You denied to fight with me this other day, because I was no gentle- 
 man born. — Ibid., v. 2. 
 
 Hermione was not so much wrinkled, nothing 
 So aged as this seems. — 
 
 Oh, not by much. — 
 So much the more our carver's excellence ; 
 Which lets go by some sixteen years, and makes her 
 As she liv'd now. — . . . 
 
 . . . Oh, thus she stood, 
 Even with such life of majesty (warm life. 
 As now it coldly stands), when first I woo'd her ! . . , 
 
 . . . Lady, 
 Dear queen, that ended when I but began. 
 Give me that hand of yours to kiss. — . . . 
 My lord, your sorrow was too sore laid on. 
 Which sixteen winters cannot blow away, 
 
DRAMATIC TIME. 253 
 
 So many summers dry : scarce any joy 
 Did ever so long live ; no sorrow 
 But kill'd itself much sooner. — . . . 
 
 . . . Nay, present your hand: 
 When she was young, you woo'd her ; now, in age, 
 Is she become the suitor. — . . . 
 Ay, and make it manifest where she has liv^d. 
 Or how stolen from the dead. — . . . 
 
 . . . Tell me, mine own, 
 Where hast thou been preserved ? where liv^d ? how found 
 Thy father's court ? for thou shalt hear, that I — 
 Knowing by Paulina that the oracle 
 Gave hope thou wast in being — have preserved 
 Myself to see the issue. — . . . 
 
 ... I saw her, 
 As I thought, dead ; and have in vain, said many 
 A prayer upon her grave. . . . 
 
 . . . Good Paulina, 
 Lead us from hence ; where we may leisurely 
 Each one demand, and answer to his part 
 Performed in this wide gap of time, since first 
 We were dissever'd. — W. T., v. 3. 
 
 In his magnificent chronicle-drama of " Henry V.," Shakespeare 
 has not only introduced a Chorus at the commencement of each act 
 and at the close of the play as epilogue, serving to mark the progress 
 of time and the variation of place in the historic story; but he has also 
 given many passages indicative of Dramatic Time, on his own system 
 of concurrent or alternate rapidity and slow^ness in these denotements. 
 To begin with those of swiftly passing and actually present time : — 
 
 For 'tis your thoughts that now must deck our kings. 
 Carry them here and there ; jumping o'er times, 
 Turning th' accomplishment of many years 
 Into an hour-glass. — H. V., i. {Chorus). 
 
 My lord, I 'II tell you ; that self bill is urg'd. 
 
 Which in the eleventh year of the last king's reign 
 
 Was like, and had indeed against us pass'd, 
 
 But that the scambling and unquiet time 
 
 Did push it out of farther question. — 
 
 But how, my lord, shall we resist it now ? — . . . 
 
 The king is full of grace and fair regard. — 
 
 And a true lover of the holy church. — 
 
 The courses of his youth promis'd it not. — . . . 
 
 . . . We are blessed in the change. — . . . 
 . . . But my good lord. 
 How now for mitigation of this bill 
 Urg'd by the commons ? Doth his majesty 
 Incline to it or no ? — 
 
 He seems indifferent ; 
 Or, rather, swaying more upon our part. 
 Than cherishing th' exhibiters against us : 
 For / have made an offer to his majesty — 
 Upon our spiritual convocation, 
 And in regard of causes now in hand. 
 Which I have open'd to his grace at large. 
 As touching France — to give a greater sum 
 Than ever at one time the clergy yet 
 Did to his predecessors part withal. — 
 How did this offer seem receiv'd, my lord ■ — 
 
254 THE SHAKESPEARE KEY. 
 
 With good acceptance of his majesty; 
 
 Save that there was not time enough to hear. — . . . 
 
 What was th' impediment that broke this off ? — 
 
 The French embassador upon that instant 
 
 Crav'd audience ; and the hour, I think, is come 
 
 To give him hearing : is it four o'clock ? — 
 
 It is.— 
 
 Then go we in, to know his embassy. — H. V., i. i. 
 
 This was a merry message. — ■ 
 We hope to make the sender blush at it; 
 Therefore, my lords, omit no happy hour 
 That may give fartherance to our expedition ; 
 For VIC have now no thought in us but France, 
 Save those to God, that run before our business. 
 Therefore, let our proportions for these wars 
 Be soon collected, and all things thought upon 
 That may with reasonable swiftness add 
 More feathers to our wings. — Ibid., i. z. 
 
 Now all the youth of England are on fire, . . . 
 
 Now thrive the armourers, and honour^s thought 
 
 Reigns solely in the breast of every man. 
 
 They sell the pasture now to buy the horse ; 
 
 Following the mirror of all Christian kings. 
 
 With winged heels, as English Mercuries : 
 
 For now sits Expectation in the air ; . . . 
 
 Linger your patience on ; and well digest 
 
 Th' abuse of distance, while we force a play. 
 
 The sum is paid ; the traitors are agreed ; 
 
 The king is set from London ; and the scene 
 
 Is now transported, gentles, to Southampton, — 
 
 There is the playhouse now, there must you sit : 
 
 And thence to France shall we convey you safe, 
 
 And bring you back, clearing the narrow seas 
 
 To give you gentle pass. — Ibid., ii. {Chorus) . 
 Well met. Corporal Nym. — Good morrow, Lieutenant Bardolph. — What, are Ancient 
 Pistol and you friends yet ? . . . / will bestow a breakfast to make you friends ; and 
 we 'II be ail three s2i>orn brothers to France. ... It is certain, corporal, that he is 
 married to Nell Quickly : and, certainly, she did you wrong; for you were troth-plight 
 to her. . . . Here comes Ancient Pistol and his wife ; good corporal, be patient here. 
 — ... Mine host Pistol, you must come to my master — and you, hostess — he is very 
 sick, and would to bed. . . . 'faith he 's very ill. — . . . The king has killed his heart. 
 Good husband, come home presently. ... As ever you came of women, come in quickly 
 to Sir John. Ah, poor heart ! he is so shaked of a burning quotidian tertian, that it is 
 most lamentable to behold. Sweet men, come to him. — Ibid., ii. i. 
 
 Now sits the wind fair, and we will aboard. . . . 
 
 Who are the late commissioners ? — 
 
 I one, my lord : 
 
 Your highness bade me ask for it to-day. — 
 
 So did you me, my liege. — - 
 
 And me. my royal sovereign. — 
 
 Then, Richard, Earl of Cambridge, there is yours; 
 
 There yours, Lord Scroop of Masham ; and, sir knight, 
 
 Grey of Northumberland, this same is yours ; 
 
 Read them ; and know, I know your worthiness. . . . 
 
 We will aboard to-night. Why, how now, gentlemen 
 
 What see you in those papers, that you lose 
 
 So much complexion ? — . . . 
 
 . . . I do confess my fault ; 
 And do submit me to your highness' mercy. — 
 . . . Their faults are open : 
 
DRAMATIC TIME. 255 
 
 Arrest them to the answer of the law ; — ■ . . 
 
 Never did faithful subject more rejoice 
 
 At the discovery of most dangerous treason, 
 
 Than I do at this hour joy o'er myself ; 
 
 Prevented from a damned enterprise : 
 
 My fault, but not my body, pardon, sovereign. — 
 
 God quit you in his mercy ! hear your sentence. 
 
 . . . Get you therefore hence. 
 Poor miserable wretches, to your death : 
 The taste whereof, God, of his mercy, give you 
 Patience to endure, and true repentance 
 Of all your dear offences ! Bear them hence. 
 Now, lords, for France ; . . . 
 Since God so graciously hath brought to light 
 This dangerous treason, lurking in our way 
 To hinder our beginnings, we doubt not now 
 But every rub is smoothed on our way. 
 Then forth, dear countrymen: let us deliver 
 Our puissance into the hand of God, 
 Putting it straight in expedition. 
 Cheerly to sea ; the signs of war advance — H. V., ii. 2. 
 
 . . . For Falstaff he is dead, 
 And we must yearn therefore. — . . . 
 
 Shall we shog ? the king will be gone from Southampton.^ 
 Come, let '5 away. — Ibid., ii. 3. 
 
 Thus come the English with full power upon us ; . . . 
 Therefore the dukes of Berry, and of Bretagne, 
 Of Brabant and of Orleans, shall make forth. 
 And you, prince Dauphin, with all swift despatch. — . . . 
 Despatch us with all speed, lest that our king 
 Come here himself to question our delay ; 
 For he is footed in this land already. — 
 You shall be soon despatch'd with fair conditions : 
 A flight is but small breath and little pause 
 To answer matters of this consequence. — Ibid., ii. 4. 
 Thus with imagin'd speed our swift scene flics. 
 In motion of no less celerity 
 
 Than that of thought. Suppose that you have seen 
 The well-appointed king at Hampton pier 
 Embark his royalty ; and his brave fleet 
 With silken streamers the young Phoebus fanning: 
 Play with your fancies. . . . 
 
 . . . Follow, follow ! 
 Grapple your minds to sternage of this, navy ; . . . 
 Work, work your thoughts, and therein see a siege ; 
 Behold the ordnance on their carriages. 
 With fatal mouths gaping on girded Harfleur. 
 Suppose, th' embassador from the French comes back ; 
 Tells Harry that the king doth offer him 
 Katharine his daughter ; and, with her, to dowry, 
 Some petty and unprofitable dukedoms. 
 The offer likes not : and the nimble gunner 
 With linstock now the devilish cannon touches, 
 And down goes all before them. — Ibid., iii. (Chorus). 
 
 I see you stand like greyhounds in the slips. 
 
 Straining upon the start. The game 'i cifoot : 
 
 Follow your spirit : and, upon this charge. 
 
 Cry — God for Harry! England! and Saint George ! — Ibid., iii. i. 
 
 I say, gude day. Captain Fluellen. — God-den to your worship, goot Cajjtain Jamy. — 
 How now. Captain Macmorris ! have you quit the mines ? have the pioneers given 
 
256 THE SHAKESPEARE KEY. 
 
 o'er?— . . . the work ish give over, the trumpet sound the retreat . . . the day is hot, 
 and the weather, and the wars, and the king, and the dukes : it is no time to discourse.— 
 . . . The town sounds a parley. — H. V., iii. 2. 
 
 Our expectation hath this day an end ; 
 
 The Dauphin, whom of succour we entreated. 
 
 Returns us, that his powers are not yet ready 
 
 To raise so great a siege. Therefore, dread king, 
 
 We yield our town and lives to thy soft mercy. 
 
 Enter our gates ; dispose of us and ours ; 
 
 For we no longer are defensible. — 
 
 Open your gates. Come, uncle Exeter, 
 
 Go you and enter Harfleur. . . . 
 
 To-night in Harfleur will we be your guest. — Ihid., iii. 3. 
 
 'Tis certain, he hath passed the river Somme. . . . 
 
 Where is Montjoy, the herald ? Speed him hence : 
 
 Let him greet England with our sharp defiance. 
 
 Up, princes ! and, with spirit of honour, cdg'd 
 
 More sharper than your swords, hie to the field ! — . . . 
 . . . haste on Montjoy ; 
 
 And let him say to England, that we send 
 
 To know what willing ransom he will give. . . . 
 
 Now forth, lord constable, and princes all. 
 
 And quickly bring us word of England's fall. — Ibid., iii. 5. 
 
 I hope they will not come upon us now. — 
 
 We are in God's hand, brother, not in theirs ; 
 
 March to the bridge; it now draws toward night : 
 
 Beyond the river we'll encamp ourselves ; 
 
 And on to-morrow bid them march away. — Ibid., iii. 6. 
 
 Tut ! I have the best armour of the world. Would it were day .'— . . . Will it never 
 be morning ? — . . . What a long night is this J — . . . the armour that I saw in your 
 tent to-night, are those stars, or suns, upon it ? — . . . Will it never be day ? I will 
 trot to-morrow a mile, and my way shall be paved with English faces. — I will not say 
 so, for fear I should be faced out of my way: but / would it were morning ; fori would 
 fain be about the ears of the English. — . . Tis midnight ; I'll go arm myself. — The 
 Dauphin longs for morning. — . . . My lord high constable, the English lie within 
 fifteen htmdred paces of your tents. — . . . Would it were day ! Alas, poor Harry of 
 England ! he longs noi for the dawning, as we do. — . . . Now is it time to arm : come, 
 shall we about it ? — 
 
 It is now two o'clock. — Ibid., iii. 7. 
 
 Now entertain conjecture of a time. 
 
 When creeping murmur, and the poring dark. 
 
 Fills the wide vessel of the universe. 
 
 From camp to camp, through the foul womb of night, 
 
 The hum of either army stilly sounds, . . . 
 
 Steed threatens steed, in high and boastful neighs 
 
 Piercing the night's dull ear ; and from the tents. 
 
 The armourers, accomplishing the knights, 
 
 With busy hammers closing rivets up. 
 
 Give dreadful note of preparation. 
 
 The country cocks do crow, the clocks do toll. 
 
 And the third hour of drowsy morning name. 
 
 Proud of their numbers, and secure in soul. 
 
 The confident and over-lusty French 
 
 Do the low-rated English play at dice ; 
 
 And chide the cripple tardy-gaited night. . . . 
 
 . . . The poor condemned English, 
 
 Like sacrifices, by their watchful fires 
 
 Sit patiently, and inly ruminate 
 
 The morning's danger. . . . 
 
 . . . Oh, now, who will behold 
 
DRAMATIC TIME. 257 
 
 The royal captain of this ruin'd band, 
 
 Walking from watch to watch, from tent to tent. 
 
 Let him cry, " Praise and glory on his head ! " 
 
 For forth hje goes and visits all his host ; 
 
 Bids them good morrow with a modest smile. . . . 
 
 Nor doth he dedicate one jot of colour 
 
 Unto the weary and all-watched night ; . . . 
 
 Behold, as may unworthiness define, 
 
 A little touch of Harry in the night : 
 
 And so our scene must to the battle fly. — H. V., iv. {Chorus). 
 
 Good morrow, brother Bedford. . . . 
 
 . . . Our bad neighbour makes us early stirrers. . . . 
 
 Good morrow, old Sir Thomas Erpingham : 
 
 A good soft pillow for that good white head 
 
 Were better than a churlish turf of France. — 
 
 Not so, my liege : this lodging likes me better. 
 
 Since I may say, " Now lie I like a king." — . . . 
 
 Lend me thy cloak, Sir Thomas. Brothers both. 
 
 Commend me to the princes in our camp ; 
 
 Do my good-morrow to them; and, anon, 
 
 Desire them all to my pavilion. — Ibid., iv. i. 
 
 Brother John Bates, is not that the morning which breaks yonder ? — I think it be ; 
 but we have no great cause to desks the approach of day. — We see yonder the beginning 
 of the day, but I think we shall never see the end of it. . . . I believe, as cold a night 
 as 'tis, he could wish himself in Thames up to the neck. 
 . . . Not to-day, O Lord, 
 O, not to-day, think not upon the fault 
 My father made in compassing the crown ! . 
 
 ... Ay, 
 I know thy errand, I will go with thee : 
 The day, my friends, and all things stay for me. — Ibid., iv. i. 
 
 The sun doth gild our armour ; up, my lords ! — . . . 
 
 The English are embattled, you French peers. — 
 
 To horse, you gallant princes ! straight to horse ! . 
 
 There is not work enough for all our hands ; 
 
 Scarce blood enough in all their sickly veins, 
 
 To give each naked curtle-axe a stain. 
 
 That our French gallants shall to-day draw out. . 
 
 Why do you stay so long, my lords of France ? 
 
 Yon island carrions, desperate of their bones, 
 
 lU-favour'dly become the morning field. — . . . 
 
 I stay but for my guard : on, to the field ! 
 
 I will the banner from a trumpet take. 
 
 And use it for my haste. Come, come away ! 
 
 The sun is high, and we outwear the day. — Ibid., iv. 2. 
 
 Farewell, kind lord ; fight valiantly to-day : 
 
 And yet I do thee wrong to mind thee of it. 
 
 For thou art fram'd of the firm truth of valour — . . . 
 
 . . . O that we now had here 
 But one ten-thousand of those men in England 
 That do no work to-day I — . . . 
 This day is called the feast of Crispian : 
 He that outlives this day, and comes safe home. 
 Will stand a-tiptoe when this day is nam'd. 
 And rouse him at the name of Crispian. 
 He that shall live this day, and see old age. 
 Will yearly on the vigil feast his neighbours. . . . 
 And Crispin Crispian shall ne 'er go by. 
 From this day to the ending of the world, 
 But we in it shall be remembered ; 
 
258 THE SHAKESPEARE KEY. 
 
 We few, we happy few, we band of brothers ; 
 For he, to-day that sheds his blood with me, 
 Shall be my brother ; be he ne'er so vile. 
 This day shall gentle his condition. — . . . 
 My sovereign lord, bestow yourself with speed ; 
 The French are bravely in their battles set. 
 And will with all expedience charge on us. — 
 All things are ready, if our minds be so. — 
 Perish the man whose mind is backward jww I — . . 
 Once more / come to know of thee. King Harry, 
 If for thy ransom thou wilt now compound. 
 Before thy most assured overthrow. — . . . 
 
 . . . Who hath sent thee now ? — 
 The Constable of France. — ■ . . . 
 A many of our bodies shall, no doubt, 
 Find native graves ; upon the which, I trust. 
 Shall witness live in brass of this day's work. . . . 
 And my poor soldiers tell me, yet ere night 
 They '11 be in fresher robes ; or they will pluck 
 The gay new coats o'er the French soldiers' heads, 
 And turn them out of service. If they do this — 
 As, if God please, they shall — my ratisom then 
 Will soon be levied. . . . 
 
 . . . Now, soldiers, march away : 
 And how thou pleasest, God, dispose the day. — H. V., iv. 3. 
 
 Well have we done, thrice valiant countrymen : 
 
 But all 's not done ; yet keep the French the field. — 
 
 The Duke of York commends him to your majesty. — 
 
 Lives he, good uncle ? thrice within this hour 
 
 I saw him down ; thrice up again, and fighting. — Ibid., iv. 6. 
 
 Here comes the herald of the French, my liege. — 
 
 His eyes are humbler than they us'd to be. — . . . 
 
 / come to thee for charitable licence. 
 
 That we may wander o'er this bloody field 
 
 To book our dead, and then to bury them. — . . . 
 ... I tell thee truly, herald, 
 
 I know not if the day be ours or no ; 
 
 For yet a many of your horsemen peer 
 
 And gallop o'er the field. — 
 
 The day is yours. — 
 
 Praised be God, and not our strength for it ! 
 
 What is this castle call'd that stands hard by? — 
 
 They call it Agincourt. — 
 
 Then call we this the field of Agincourt, 
 
 Fought on the day of Crispin Crispianus. — . . . 
 
 Bring me just notice of the numbers dead 
 
 On both our parts. Call yonder fellow hither. — 
 
 Soldier, you must come to the king. — 
 
 Soldier, why wear'st thou that glove in thy cap ? — 
 An 't please your majesty, 'tis the gage of one that I should fight withal, if he be 
 alive. — An Englishman ? — An 't please your majesty, a rascal that swaggered with 
 me last night. — Ibid., iv. 7. 
 
 Captain, I beseech you now, come apace to the king : . . . Sir. know you this glove ? 
 — Know the glove ! I know the glove is a glove. — I know this ; and thus I challenge it 
 {Strikes him.] — . . . My liege, this was my glove; here is the fellow of it; and he 
 that I gave it to in change promised to wear it in his cap ; I promised to strike him, 
 if he did ; I met this man with my glove in his cap, and / have been as good as my 
 word. — . . . Give me thy glove, soldier : look, here is the fellow of it. 'Twas I, 
 indeed, thou promisedst to strike ; and thou hast given me most bitter terms. — . . . 
 ■Vour majesty came not like yourself; you appeared to me but as a common man ; 
 
DRAMATIC TIME. 259 
 
 witness the night, your garments, your lowliness . . . therefore, I beseech your 
 highness, pardon me. — 
 
 Here, uncle Exeter, fill this glove with crowns. 
 
 And give it-to this fellow. Keep it, fellow; 
 
 And wear it for an honour in thy cap. . . . 
 
 Now, herald, are the dead numbered? — ■ 
 
 Here is the number of the slaughter' d French. — 
 
 Where is the number of our English dead? . . . 
 . . . When, without stratagem, 
 
 But in plain shock and even play of battle. 
 
 Was ever known so great and Utile loss 
 
 On one part and on th' other ? Take it, God, 
 
 For it is none but thine! . . . 
 
 Come, go we in procession to the village. . , . 
 
 Do we all holy rites : 
 
 Let there be sung NoN Nobis and Te Deum ; 
 
 The dead with charity inclos'd in clay. — H. V., iv. 8. 
 
 Now we bear the king 
 Toward Calais : grant him there ; there seen. 
 Heave him away upon your winged thoughts 
 Athwart the sea. Behold, the English beach 
 Pales in the flood with men, with wives, and boys. 
 Whose shouts and claps outvoice the deep-mouth'd sea. 
 Which, like a mighty whiffler fore the king, 
 Seems to prepare his way : so let him land ; 
 And solemnly see him set on to London. 
 So swift a pace hath thought, that even now 
 You may imagine him upon Blackheath. . . . 
 
 . . . now behold. 
 In the quick forge and working-house of thought, 
 How London doth pour out her citizens ! 
 
 . . . Now in London place him ; 
 . . . and omit 
 All the occurences, whatever chanc'd. 
 Till Harry's back-return again to France : 
 There must we bring him ; and myself have play'd 
 The interim, by remembering you 'tis past. 
 Then brook abridgment ; and your eyes advance, 
 After your thoughts, straight back again to France. — Ibid., v. (Chorus). 
 
 Nay, that 's right ; but why wear you your leek to-day ? 
 Saint Davy's day is past. — . . . Why here he comes, swelling like a turkey-cock. — 
 . . . You called me yesterday mountain-squire ; but I will make you to-day a squire of 
 low degree. I pray you, fall to: if you can mock a leek, you can eat a leek. — . . . 
 Quiet thy cudgel ; thou dost see I eat. — . . . News have I that my Nell is dead i' the 
 spital. — Ibid., v. i. 
 
 Peace to this meeting, wherefore we are met ! 
 
 Unto our brother France, and to our sister, 
 
 Health ani fair time of day ! . . . 
 
 So happy be the issue, brother England, 
 
 Of this good day and of this gracious meeting, 
 
 As we are now glad to behold your eyes ; . . . 
 
 The venom of such looks, we fairly hope. 
 
 Have lost their quality : and that this day 
 
 Shall change all griefs and quarrels into love. — 
 
 . . . Fair Katharine and most fair ! 
 Will you vouchsafe to teach a soldier terms 
 Such as will enter at a lady's ear, 
 And plead his love-suit to her gentle heart ? . . . 
 Canst thou love me ? — I cannot tell. — Can any of your neighbours tell, Kate ? I '11 
 ask them. Come, I know, thou lovest me : and at night, when you come into your 
 
 S 2 
 
26o THE SHAKESPEARE KEY. 
 
 closet, you '11 question this gentlewoman about me : . . . Come, your answer in broken 
 music, for thy voice is music, and thy English broken ; therefore, queen of all, 
 Katharine, break thy mind to me in broken English — wilt thou have me ? — Dat is, 
 as-it shall please de roy mon pere. — Nay, it will please him well, Kate, it shall please 
 him, Kate. — Den it shall also content me. — V^on that I kiss your hand, and I call you 
 my queen. — . . . Here comes your father. — . . . Shall Kate be my wife} — So please 
 you. — . . . The king hath granted every article; his daughter first; and then, in 
 sequel, all, according to their firm proposed natures. — . . . Now, welcome, Kate : and 
 bear me witness all, that here I kiss her as my sovereign queen. — H. V., v. 2. 
 Thus far, with rough and all unable pen. 
 
 Our bending author hath pursu'd the story ; 
 In little room confining mighty men. 
 
 Mangling by starts the full course of their glory. 
 Small time, but, in that small, most greatly liv'd 
 
 This star of England. — Ibid., v. {Chorus). 
 
 Now to follow with those of more slowly passing and longer time : — 
 
 When we have match'd our rackets to these balls. 
 
 We will, in France, by God's grace, play a set. 
 
 Shall strike his father's crown into the hazard. . . . 
 
 Tell you the Dauphin, I am coming on. 
 
 To venge me as I may, and to put forth 
 
 My rightful hand in a well-hallow'd cause. . . . 
 
 For we have now no thought in us but France, 
 
 Save those to God, that run before our business. 
 
 Therefore let our proportions for these wars 
 
 Be soon collected. . . . 
 
 We 'II chide this Dauphin at his father's door. — Ibid., i. z. 
 
 Linger your patience on; and well digest 
 
 Th' abuse of distance, while we force a play. . . . 
 
 The king is set from London ; and the scene 
 
 Is now transported, gentles, to Southampton. . . . 
 
 And thence to France shall we convey you safe. — Ibid., ii. {Chorus). 
 
 For us, we will consider of this farther : 
 
 To-morrow shall you bear our full intent 
 
 Back to our brother England. . . . 
 
 To-morrow shall you know our mind at full.— Ibid., ii. 4. 
 Suppose, that you have seen 
 
 The well-appointed king at Hampton pier 
 
 Embark his royalty. . . . 
 
 For so appears this fleet majestical. 
 
 Holding due course for Harjieur. — Ibid., iii. [Chorus). 
 Bardolph stole a lute-case, bore it twelve leagues, and sold it for three halfpence. 
 Nym and Bardolph are sworn brothers in filching ; and in Calais they stole a fire- 
 shovel. — Ibid., iii. 2. 
 
 The winter coming on, and sickness growing 
 
 Upon our soldiers, we will retire to Calais. 
 
 To-night in Harfleur will we be your guest ; 
 
 To-morrow for the march are we addrest. — Ibid., iii. 3. 
 We give express charge, that in our marches through the country, there be nothing 
 compelled from the villages. . . . 
 
 . . . Tell thy king, / do not seek him now ; 
 
 But could be willing to march on to Calais 
 
 Without impeachment. . . . 
 
 My people are with sickness much enfeebled; 
 
 My numbers lessen'd. — Ibid., iii. 6. 
 
 Tell him, I '11 knock his leek about his pate. 
 
 Upon Saint David's day. — . . . 
 If ever thou come to me and say, after to-morrow, " This is my glove," by this hand, 
 I will take thee a box on the ear. — Ibid., iv. 1. 
 
DRAMATIC TIME. 261 
 
 Our gayness and our gilt are all besmirch'd 
 
 With rainy marching in the painful field ; 
 
 There 's not a piece of feather in our host 
 
 (Good argument, I hope, we will not fly), 
 
 And time Kath worn tis into slovenry. — H. V., iv. 3. 
 
 I was not angry since I came to France 
 
 Until this instant. — Ibid., iv. 7. 
 
 We ''II then to Calais ; and to England then ; 
 
 Where ne^er from France arriv'd more happy men. — Ibid., iv. 8 
 
 I humbly pray them to admit th' excuse 
 
 Of time, of numbers, and due course of things. 
 
 Which cannot in their huge and proper life 
 
 Be here presented. Now we hear the king 
 
 Toward Calais : . . . 
 
 . . . Behold, the English beach. . . . 
 . . . See him set on to London. . . . 
 . . . imagine him upon Blackheath ; . . . 
 
 How London doth pour out her citizens . . . 
 ... in London place him. 
 
 (As yet the lamentation of the French 
 
 Invites the king of England's stay at home ; 
 
 The emperor 's coming in behalf of France, 
 
 To order peace between them) ; and omit 
 
 All the occurrences, whatever chanc'd. 
 
 Till Harry's back-return again to France : . . . 
 
 . . and your eyes advance. 
 
 After your thoughts, straight back again to France. — Ibid.,v. (Chorus). 
 Why wear you your leek to-day? Saint Davy's day is past. — ... He is come to 
 me, and prings me pread and s,2\l yesterday, look you, and bid me eat my leek. . . . 
 You called me yesterday mountain-squire. — ... I have seen you gleeking and galling 
 at this gentleman /ot« or i/inc«. — . . . Old I do wax ; and from my weary limbs honour 
 is cudgelled. . . . To England will I steal. — Ibid., v. i. 
 
 The Dramatic Time in " Romeo and Juliet" extends over four days : 
 the day of the brawl with which the play opens and of the feast on that 
 same night at Capulet's house ; the day on which the youthful hero and 
 heroine are married to each other by Friar Laurence, on which Mercutio 
 and Tybalt are killed, and on which old Capulet promises his daughter 
 to County Paris for a wife ; the day when at dawn Romeo leaves Verona 
 for Mantua, when the parents announce to JuHet that she is to have 
 Paris for her husband, and when she obtains the sleeping-potion, taking 
 it that same night ; and, finally, the day on which Romeo hears of Juliet's 
 death, returning in all haste to swallow poison and die beside her that 
 very night. The lapse of these four days is ingeniously notified by the 
 dramatist with sufficient distinctness to give verisimilitude in space for 
 action ; and yet, he so contrives to give speedy effect by touches of 
 brief time, that the whole seems to transpire naturally within the usual 
 stage " two hours." He has introduced a Chorus in this play, as pro- 
 logue and as close to the first act ; but farther indications of Dramatic 
 Time lie scattered through various passages of this most exquisite 
 love-drama. Firstly, for those of Short Time : — 
 
 The fearful passage of their death-mark'd love. 
 
 And the continuance of their parents' rage. 
 Which, but their children's end, naught could remove. 
 
 Is now the two hours' traffic of our stage. — R. &• jful., i. 
 
 (Chorus prologue). 
 
262 THE SHAKESPEARE KEY. 
 
 For this time, all the rest depart away : 
 
 You, Capulet, shall along with me ; 
 
 And, Montague, come you this afternoon, 
 
 To know our farther pleasure in this case. — . . . 
 
 Who set this ancient quarrel new abroach } 
 
 Speak, nephew, were you by when it began ? — 
 
 Here were the servants of your adversary, 
 
 And yours, close fighting ere I did approach: 
 
 I drew to part them : in the instant came 
 
 The fiery Tybalt, with his sword prepar'd. . . . 
 
 While we were interchanging thrusts and blows. 
 
 Came more and more, and fought on part and part. 
 
 Till the prince came, who parted either part. — 
 
 Oh, where is Romeo ? saw you him to-day ? 
 
 Right glad I am he was not at this fray. — 
 
 Madam, an hour before the worshipped sun 
 
 Peer d forth the golden window of the east, 
 
 A troubled mind drave me to walk abroad ; . . . 
 
 So early walking did I see your son . . . 
 
 See. where he conies : so please you, step asic'.c-; 
 
 I '11 know his grievance, or be much denied. . . . 
 
 Good morrow, cousin. — 
 
 Is the day so young ? — 
 But new struck nine. — . . . 
 
 Where shall we dine ? O me i what fray was hc-.-e ? 
 Yet tell me not, for I have heard it all. — R. &• ji:l., i. i. 
 But Montague is bound as well as I, 
 In penalty alike ; — . . . 
 
 But now, my lord, what say you to my suit ! — 
 But saying o'er what I have said before : 
 My child is yet a stranger to the world. 
 She hath not seen the change of fourteen years. . . . 
 But woo her, gentle Paris, get her heart, 
 My will to her consent is but a part. . . . 
 This night I hold an old accustomed feast. 
 Whereto I have invited many a guest, . . . 
 At my poor house look to behold this night 
 Earth-treading stars, . . . 
 
 . . . even such delight 
 Among fresh female buds shall you this night 
 Inherit at my house ; hear all, all see. 
 And like her most, whose merit most shall be : . . . 
 Come, go with me. Go, sirrah, trudge about 
 Through fair Verona ; find those persons out 
 Whose names are written there, and to them say. 
 My house and welcome on their pleasure stay. — . . 
 . . . Good-den, good fellow. — 
 God gi' good-den. . . . 
 A fair assembly : whither should they come ? — Up. — Whither ? — To supper ; to our 
 house. — Whose house? — My master's. — . . . 
 
 At this same ancient feast of Capulet's 
 
 Sups the fair Rosaline, whom thou so lov'st; 
 
 With all the admired beauties of Verona : 
 
 Go thither. . . . 
 
 J '// go along, no such sight to be shown. 
 
 But to rejoice in splendour of mine ov/n.— Ibid., i. 2. 
 
 The valiant Paris seeks you for his love. — , . 
 
 What say you ? can you love the gentleman ? 
 
 This night you shall behold him at our feast ; 
 
 Read o'er the volume of young Paris' face, 
 
 And find delight writ there with beauty's pen. — . . . 
 
DRAMATIC TIME. 263 
 
 Madam, the guests are come, supper served up, you called, my young lady asked for, 
 the nurse cursed in the pantry, and everything in extremity. I must hence to 'x'ait ; I 
 beseech you, follow straight. — 
 
 We follow thee. Juliet, the County stays. — R. &• jful., i. 3. 
 
 / dreamt a dream to-night. — . . . 
 
 Supper is done, and we shall come too late. — 
 
 I fear, too early : for my mind misgives 
 
 Some consequence, yet hanging in the stars. 
 
 Shall bitterly begin his fearful date 
 
 With this night's revels. . . , 
 
 But He, that hath the steerage of my course. 
 
 Direct my sail ! On, lusty gentlemen. — Ibid., i. 4. 
 
 You are welcome, gentlemen I Come, musicians, play. 
 A hall, a hall I give room ! and foot it girls. . . . 
 What lady is that, which doth enrich the hand 
 Of yonder knight ? — . . . 
 
 The measure done, I '11 watch her place of stand, 
 And, touching hers, make blessed my rude hand. 
 Did my heart love till hozb ? forswear it, sight ! 
 For I ne'er saw true beauty till this night. — . . . 
 Uncle, this is a Montague, our foe ; 
 A villain, that is hither come in spite. 
 To scorn at our solemnity this night. — . . . 
 . . . Is she a Capulet? 
 
 dear account ! my life is my foe's debt. — 
 Away, begone J the sport is at the best. — 
 Ay, so I fear ; the more is my unrest. — 
 Nay, g&rviiemeii, prepare not to be gone ; 
 We have a trifling batiquet towards. 
 
 Is it e'en so ? Why, then, I thank you all ; 
 
 1 thank you, honest gentlemen ; good night. 
 More torches there 1 Come on, then, let 's to bed. 
 Ah, sirrah, by my fay, it waxes late : 
 
 I 'II to my rest. — 
 
 Come hither, nurse. . . , 
 
 What's he that follows there, that would >iot dance? — 
 
 I know not. — 
 
 Go, ask his name : if he be married. 
 
 My grave is like to be my wedding-bed. — ■ 
 
 His name is Romeo, and a Montague ; 
 
 The only son of your great enemy. — 
 
 My only love sprung from my only hate ! 
 
 Too early seen unknown, and known too late ! — . . . 
 
 Come, let's away ; the strangers are all gone. — Ibid., i. 5. 
 
 liow old desire doth in his death-bed lie. 
 
 And young affection gapes to be his heir ; 
 That fair, for which love groan'd for, and would die, 
 
 With tender Juliet, is now not fair. 
 Now Romeo is belov'd, and loves again'. — Ibid., i. {Chorus). 
 Come, he hath hid himself among these trees. 
 To be consorted with the humorous night: — . . . 
 Romeo, good night : I '11 to my truckle-bed ; — Ibid., ii. i. 
 What light through yonder window breaks ? 
 It is the east, and yttliet is the sun J 
 Arise, fair sun, and kill the envious moon. . . . 
 O, speak again, bright angel ! for thou art 
 As glorious to this night, being o'er my head, 
 As is a winged messenger of heaven. — . . . 
 What man art thou, that, thus bescreen'd in night, 
 So stumblest on my counsel ? — 
 
264 THE SHAKESPEARE KEY. 
 
 I have night's cloak to hide me from their sight. — . . . 
 
 Thou know'st the mask of night is on my face, 
 
 Else would a maiden blush bepaint my cheek, 
 
 For that which thou hast heard me speak to-night. . . 
 
 . . . therefore, pardon me ; 
 And not impute this yielding to light love. 
 Which the dark night hath so discovered. — . . . 
 Well, do not swear : although I joy in thee, 
 I have no joy of this contract to-night : . . . 
 
 . . . Sweet, good night ! . . . 
 Good night., good night I as sweet repose and rest 
 Come to thy heart, as that within my breast ! — 
 O, wilt thou leave me so unsatisfied ? — 
 What satisfaction canst thou have to-night ? — 
 
 blessed, blessed night ! I am afeard. 
 Being in night, all this is but a dream. — . . . 
 Three words, dear Romeo, and good night indeed. . . 
 A thousand times good night ! — . . . 
 
 How silver-sweet sound lovers' tongues by night. — 
 'Tis almost morning ; I would have thee gone : . . . 
 Good night, good night ! parting is such sweet sorrow, 
 That I shall say good night, till it be morrow. — . . . 
 Hence will I to my ghostly father' s cell. 
 His help to crave, and my dear hap to tell. — R. &> yul., ii. 
 
 The grey-ey'd morn smiles on the frowning night. 
 Checkering the eastern clouds with streaks of light ; 
 And flecked darkness like a drunkard reels 
 From forth day's path and Titan's fiery wheels; 
 Now, ere the sun advance his biirning eye. 
 The day to cheer and night's dank dew to dry, 
 
 1 must up-fill this osier cage of ours 
 
 With baleful weeds and precious-juiced flowers. — . . 
 Good morrow, father ! — 
 
 Benedicite ! 
 What early tongue so sweet saluteth me ? 
 Young son, it argues a disteraper'd head. 
 So soon to hid good morrow to thy bed : . . . 
 Therefore thy carlincss doth me assure 
 Thou art uprous'd by some distemperature ; 
 Or if not so, then here I hit it right, 
 Our Romeo hath not been in bed to-night. — . 
 Then plainly know, my heart's dear love is set 
 On the fair daughter of rich Capulet : 
 As mine on hers, so hers is set on mine ; 
 And all combin'd save what thou must combine 
 By holy marriage : when, and where, and how. 
 We met, we woo'd, and made exchange of vow, 
 I 'II tell thee as we pass ; but this I pray. 
 That thou consent to marry us to-day. — 
 Holy Saint Francis ! what a change is here ! 
 Is Rosaline, whom thou didst love so dear. 
 So soon forsaken ? — . . . 
 I pray thee, chide not : she, whom T love now. 
 Doth grace for grace and love for love allow ; 
 The other did not so. . . . 
 0, let tcs hence ; I stand on sudden haste. — Ibid., ii. 3. 
 
 Where the devil should this Romeo be ? 
 
 Came he not home to-night ? — 
 
 Not to his father's ; I spoke with his man. — 
 
 Ah, that same pale hard-hearted wench, that Rosaline, 
 
DRAMATIC TIME. 265 
 
 Torments him so, that he will sure run mad. — 
 
 Tybalt, the kinsman of old Capulet, 
 
 Hath sent a letter to his father's house. — 
 
 A challenge, on my life. — . . . 
 
 Here comes Romeo, here comes Romeo. — . . . 
 Signior Romeo, bon jour ! there 's a French salutation to your French slop. You 
 gave us the counterfeit fairly last night. — Good morrow to you both. — . . . Why ts not 
 this better now than groaning for love ? now art thou sociable, now art thou Romeo ; now 
 art thou what thou art, by art as well as by nature. — . . . God ye good morrow, 
 gentlemen. — God ye good-den, fair gentlewoman. — Is it good-den ? — 'Tis no less, I tell 
 you ; for the bawdy hand of the dial is on the prick of noon. . . . Romeo, will you 
 come to your father's ? we '11 to dinner thither. — I will follow you. — . . . Pray you, 
 sir, a word: and as I told you, my young lady bade me inquire you out; — . . . Bid her 
 devise some means to come to shrift this afternoon ; and there she shall at Friar 
 Laurence' cell be shriv'd and married. — . . . This afternoon, sir ? well, she shall be 
 there. — 
 
 And stay, good nurse, behind the abbey-wall : 
 
 Within this hour my man shall be with thee. 
 
 And bring thee cords made like a tackled stair ; 
 
 Which to the high top-gallant of my joy 
 
 Must be my convoy in the secret night. — R. &• Jul., ii. 4. 
 
 The clock struck nijie when I did send the nurse ; 
 
 In half an hour she promis'd to return. 
 
 Perchance she cannot meet him : that's not so. . . . 
 
 Now is the sun upon the highmost hill 
 
 Of this day's journey ; and from nine to twelve 
 
 Is three long hours, yet she is not come. . . . 
 
 God, she comes ! O honey fiurse, what 7iews ? 
 Hast thou met him ? . . . 
 
 Now, good sweet nurse, . . . 
 
 Nay, come, I pray thee, speak ; good, good nurse, speak. — . . 
 
 . . . What, have you dined at home ? — 
 No, no ; but all this did I know before. 
 What says he of our marriage ? what of that ? . . . 
 Sweet, sweet, sweet nurse, tell me, what says my love ? . . 
 Here 's such a coil ! Come, what says Romeo ? — 
 Have you got leave to go to shrift to-day ? — 
 
 1 have. — 
 
 Then hie you hence to Friar Laurence' cell. 
 
 There stays a husband to make you a wife : . 
 
 Hie you to church ; I must another way. 
 
 To fetch a ladder, by the which your love 
 
 Must climb a bird's nest soon, when it is dark : 
 
 I am the drudge, and toil in your delight ; 
 
 But you shall bear the burden soon at night. 
 
 Go ; I'll to dinner ; hie you to the cell. — 
 
 Hie to high fortune ! honest nurse, farewell. — Ibid., ii. 5. 
 
 So smile the heavens upon this holy act. 
 
 That after-hours with sorrow chide us not ! — 
 
 Do thou but close our hands with holy words. 
 
 Here comes the lady : 0, so light a foot 
 
 Will ne'er wear out the everlasting flint. — . 
 
 Good even to my ghostly confessor. — . . . 
 
 Come, come with me, and we will make short work ; 
 
 For, by your leaves, you shall not stay alone. 
 
 Till holy Church incorporate two in one. — Ibid., ii. 6. 
 
 I pray thee, good Mercutio, let 's retire : 
 
 The day is hot, the Capulets abroad, 
 
 And, if we meet, we shall not 'scape a brawl. . . . 
 
 By my head, here come the Capulets. — 
 
266 THE SHAKESPEARE KEY. 
 
 By my heel, I care not. — 
 
 Follow me close, for I will speak to them. 
 
 Gentlemen, good. den : a word with one of you. — . . . 
 
 This gentleman, the prince's near ally, 
 
 My very friend, hath got his mortal hurt 
 
 In my behalf; my reputation stain'd 
 
 With Tybalt's slander ; Tybalt, that an hour 
 
 Hath been my kinsman : — . . . 
 
 Romeo, Romeo, brave Merciitio 's dead ! — . . . 
 This day's black fate on more days doth depend ; 
 This but begins the woe, others must end. — 
 Here conies the furious Tybalt back again. — 
 Alive ! in triumph ! and Mercutio slain ! 
 
 Away to heaven, respective lenity, 
 
 Kni fire -ey' d fury be my conduct now I — . . . 
 
 Romeo, away, begone ! 
 
 The citizens are up, and Tybalt slain : 
 
 Stand not amaz'd : the prince will doom thee death, 
 
 If thou art taken : hence, be gone, away ! — . . . 
 
 Romeo slew him, he slew Mercutio ; 
 
 Who now the price of his dear blood doth owe ? — 
 
 Not Romeo, prince, he was Mercutio's friend ; 
 
 His fault concludes but what the law should end, 
 
 The life of Tybalt.— 
 
 And for that offence, 
 Immediately we do exile him hence. . . . 
 
 . . . let Romeo hence in haste. 
 Else, when he 's found, that hour is his last. — R. &• Jul., iii. i. 
 Gallop apace, you fiery -footed steeds. 
 Towards Phoebus'' mansion : such a waggoner 
 As Phaeton would whip you to the west. 
 And bring in cloudy night immediately. . . 
 
 . . . Come, civil night, . . . 
 Come, night ; come, Romeo, come, thou day in night ; . . . 
 Come, gentle night ; come, loving, black-brow' d night. 
 Give me my Romeo. . . . 
 
 . . . So tedious is this day, 
 As is the night before some festival 
 To an impatient child, that hath new robes. 
 And may not wear them. 0, here comes my nurse. 
 And she brings news. . . . 
 
 Now, nurse, what news ? What hast thou there .' the cords 
 That Romeo bade thee fetch ? — 
 
 Ay, ay, the cords. — 
 Ah me, what news ? why dost thou wring thy hands? — 
 Ah well-a-day ! he 's dead, he's dead, he 's dead! — . . . 
 Tybalt is gone, and Romeo banish' d ; 
 Romeo, that kill'd him, he is banish' d. — . . . 
 Shall I speak ill of him that is my husband ? 
 Ah, poor my lord, what tongue shall smooth thy name, 
 When I, thy three-hours wife, have mangled it? — . . . 
 Hie to your chamber : I'll find Romeo 
 To comfort you : I wot well where he is. 
 Hark ye, your Romeo will be here at night : 
 
 1 'II to him ; he is hid at Laurence' cell. — Ibid., iii. 2. 
 Romeo, come forth; come forth, thou fearful man. — . . . 
 Father, what news ? what is the prince's doom ? — . . . 
 Not body's death, but body's banishment — . . . , 
 
 'Tis torture, and not mercy : . . . 
 
 Wert thou as young as I, Juliet thy love, 
 
 An hour but married, Tybalt murdered, 
 
DRAMATIC TIME. 267 
 
 Doting like me, and like me banished, 
 Then might'st thou speak. — . . . 
 / come from Lady jfiilict. — 
 
 Welcome, then. — 
 
 holy friar, O, tell me, holy friar, 
 
 Where is my lady^s lord, where '5 Romeo ? — 
 
 There on the ground, with his own tears made drunk. — . . . 
 
 What, rouse thee, man ! thy Juliet is alive, 
 
 For whose dear sake thou wast but lately dead ; 
 
 There art thou happy. . . . 
 
 Go, get thee to thy love, as was decreed. 
 
 Ascend her chamber, hence and comfort her : 
 
 But look thou stay not till the watch be set. 
 
 For then thou canst not pass to Mantua ; . . . 
 
 Go before, nurse : commend me to thy lady ; 
 
 And bid her hasten all the house to bed. 
 
 Which heavy sorrow makes them apt unto : 
 
 Romeo is coming. — . . . 
 
 Here, sir, a ring she bid me give you, sir. 
 
 Hie you, make haste, for it grows very late. — 
 
 How well my comfort is reviv'd by this ! — 
 
 Go hence ; good night ; and here stands all your state: 
 
 Either be gone before the watch be set. 
 
 Or by the break of day disguis'd from hence : . . . 
 
 Give me thy hand ; 'tis late : farewell ; good night. — R. &• jtd., iii. 3. 
 
 Things have fallen out, sir, so unluckily, 
 
 That we have had no time to move our daughter : . . . 
 
 'Tis very late, she HI not come down to-night : 
 
 1 promise you, but for your company, 
 
 / would have been a-bed an hour ago. — 
 
 These times of woe afford no time to woo. 
 
 Madam, good night: commend me to your daughter. — 
 
 I will, and know her mind early to-morrow ; 
 
 To-night, she 's mew'd up to her heaviness. — ■ . . . 
 
 Wife, go you to her ere you go to bed ; 
 
 Acquaint her here of my son Paris' love ; 
 
 And bid her, mark you me, on Wednesday next — 
 
 But, soft 1 What day is this ? — 
 
 Monday, my lord. — 
 Monday ! ha, ha ! Well, Wednesday is too soon ; 
 0' Thursday let it be ; o' Thursday, tell her. 
 She shall be married to this noble earl. 
 Will you be ready ? Do you like this haste ? , . . 
 
 . . . what say you to Thursday ? — 
 My lord, I would that Thursday were to-morrow. — 
 Well, get you gone : n' Thursday be it, then. 
 Go you to Juliet ere you go to bed. 
 Prepare her, wife, against this wedding-day. 
 Farewell, my lord. Light to my chamber, ho ! 
 Afore me, it is so very late, that we 
 May call it early by-and-by ; good night. — Ibid., iii. 4. 
 Wilt thou be gone ? It is not yet near day : 
 It was the nightingale, and not the lark. 
 That pierc'd the fearful hollow of thine ear.^ . . . 
 It was the lark, the herald of the morn. 
 No nightingale ; look, love, what envious streaks 
 Do lace the severing clouds in yonder east ; 
 Night's candles are burnt out, and jocund day 
 Stands tiptoe on the misty mountain-tops, 
 I must be gone and live, or stay and die. — 
 Yon light is not daylight, I know it, I : 
 
268 THE SHAKESPEARE KEY. 
 
 It is some meteor that the. sun exhales, 
 
 To be to thee this night a torch-bearer. — . . . 
 
 I'll say yon grey is not the morning's eye. . . . 
 
 How is't, my soul ? let 's talk, it is not day. — 
 
 It is, it is — hie hence, be gone, away I . . . 
 
 Oh, now be gone ; more light and light it grows.— . . . 
 
 Madam ! — • 
 
 Nurse ? — 
 Your lady mother 'i coming to your chamber : 
 The day is broke : be wary, look about. — 
 Then, window, let day in, and let life out. 
 Farewell, farewell / one kiss, and I ''II descend. — 
 Art thou gone so ? my lord, my love, my friend ! — . . 
 Ho, daughter ! are you up ? 
 Who is 't that calls ? is it my lady mother ? 
 Is she not down so late, or up so early ? 
 What unaccustom'd cause procures her hither ? — . . . 
 Now, by Saint Peter's church, and Peter too, 
 He shall not make me there a joyful bride. 
 / wonder at this haste ; that I must wed 
 Ere he, that should be husband, comes to woo : 
 I pray you, tell my lord and father, madam, 
 I will not marry yet. — . . . 
 
 Here comes your father ; tell him so yourself . — . . . 
 Go in ; and tell my lady I am gone. 
 Having displeas'd my father, to Laurence^ cell. 
 To make confession, and to be absolv'd. . . . 
 I'll to the friar, to know his remedy. — R. &• Jul., iii. 5. 
 On Thursday, sir ? the time is very short. — 
 My father Capulet will have it so; 
 And I am nothing slow to slack his haste. — 
 Now do you know the reason of this haste. — 
 I would I knew not why it should be slow'd. 
 Look, sir, here comes the lady towards my cell. — . 
 Are you at leisure, holy father, now ; 
 Or shall I come to you at evening mass ? — 
 My leisure serves me, pensive daughter, now. — . . . 
 Oh, shut the door ! and when thou hast done so. 
 Come weep with me ; past hope, past cure, past help ! — 
 Ah, Juliet, I already know thy grief. — . . . 
 Give me some present counsel. — . . . 
 Hold, then ; go home, be merry, give consent 
 To marry Paris. . . . 
 Take thou this phial, being then in bed. 
 And this distilled liquor drink thou off : 
 When, presently, through all thy veins shall run 
 A drowsy humour. ... / 
 
 Now, when the bridegroom in the morning comes 
 To rouse thee from thy bed, there art thou dead. . . . 
 Hold ; get you gone, be strong and prosperous 
 In this resolve : I 'II send a friar with speed 
 To Mantua, with my letters to thy lord. — 
 Love, give me strength ! and strength shall help afford. 
 Farewell, dear father ! — Ibid., iv. i. 
 What, is my daughter gone to Friar Laurence ? — 
 Ay, forsooth. . . . 
 
 See, where she comes from shrift with merry look. — 
 How now, my headstrong ! where have you been gadding ? - 
 Where I have learn'd me to repent the sin 
 Of disobedient opposition 
 To you and your behests ; — ... 
 
DRAMATIC TIME. 269 
 
 Send for the County ; go tell -him of this : 
 
 I ^11 have this knot knit up to-morrow morning. — . . . 
 
 Nurse, will you go with me into my closet, 
 
 To help me sort such needful ornaments 
 
 As you think fit to furnish me to-morrow ? — 
 
 No, not till Thursday ; there is time enough. — 
 
 Go, nurse, go with her : we 'II to church to-morrow. — 
 
 We shall be short in our provision : 
 
 'Tis now near night. — 
 
 Tush, I will stir about, 
 And all things shall be well, I warrant thee, wife : 
 Go thou to yuliet, help to deck up her ; 
 I'll not to bed to-night; let me alone; 
 I 'II play the housewife for this once. What, ho ! 
 They are all forth : well, I will walk myself 
 To County Paris, to prepare him up 
 Against to-morrow. — R. &• Jtil., iv. z. 
 
 Ay, those attires are best : but, gentle nurse, 
 I pray thee, leave me to myself to-night ;— . . . 
 What, are you busy, ho ? need you my help ? — 
 No, madam ; we have cull'd such necessaries 
 As are hehoveful for our state to-morrow : 
 So please you, let me now be left alone. 
 And let the nurse this night sit up with you ; 
 For, I am sure, you have your hands full all, 
 Ik this so sudden business. — 
 
 Good night : 
 Get thee to bed, and rest ; for thou hast need. — 
 Farewell I God knovra when we shall meet again. . . 
 Come, phial. 
 
 What if this mixture do not work at all? 
 Shall I be married, then, to-morrow morning ? 
 No, no ; this shall forbid it : lie thou there. . . . 
 Romeo, I come ! this do I drink to thee. — Ibid., iv. 3. 
 
 Come, stir, stir, stir ; the second cock hath crow'd. 
 The curfew bell hath rung, 'tis three o'clock : — . . . 
 Get you to bed ; 'faith, you 'II be sick to-morrow 
 For this night's watching. — . , . 
 
 . . . Good faith, 'tis day : 
 The County will be here with music straight, 
 For so he said he would : / hear him near. 
 Nurse ! Wife I what, ho ! what, nurse, I say ! 
 Go waken Juliet, go and trim her up ; 
 I 'II go and chat with Paris ; hie, make haste, 
 Make haste ; the bridegroom he is come already : 
 Make haste, I say. — Ibid., iv, 4. 
 
 Mistress I what, mistress ! yuliet ! fast, I warrant her, : 
 I must needs wake you : Lady ! lady ! lady ! 
 Alas i alas ! Help ! help ! my lady 's dead I — . . 
 What noise is here ? — 
 
 lamentable day ! — 
 What is the matter ? — 
 
 Look, look I O heavy day ! — 
 For shame 1 bring Juliet forth ; her lord is come. — 
 She's dead, deceas'd, she 's dead ; alack the day ! — 
 Alack the day I she 's dead, she 's dead, she 's dead 1 — . . 
 Come, is the bride ready to go to church ? — 
 Ready to go, but never to return : 
 son, the night before thy wedding-day 
 Hath death lain with thy wife : there she lies. — . . . 
 
270 THE SHAKESPEARE KEY. 
 
 Have I thought long to see this morning's face, 
 
 And doth it give me such a sight as this ? — 
 
 Accurs'd, unhappy, wretched, hateful day ! 
 
 Most miserable hour. — . . . 
 
 Dry up your tears, and stick your rosemary 
 
 On this fair corse ; and, as the custom is, 
 
 In all her best array bear her to church : . . . 
 . . . every one prepare 
 
 To follow this fair corse unto her grave. — . . , 
 0, play me some merry dump, to comfort me. — Not a dump we ; 'tis no time to play 
 now. — . . . Come, we'll in here ; tarry for the mourners; and stay dinner. — R. &• yul., 
 iv.5. 
 
 If I may trust the flattering truth of sleep, 
 
 My dreams presage some joyful news at hand : 
 
 My bosom's lord sits lightly in his throne ; 
 
 And all this day an unaccustom'd spirit 
 
 Lifts me above the ground with cheerful thoughts. . . . 
 
 News from Verona! How now, Balthazar! 
 
 Dost thou not bring me letters from the friar ? 
 
 How doth my lady ? — . . . 
 
 Her body sleeps in Capels' monument, 
 
 And her immortal part with angels lives. 
 
 / saw her laid low in her kindred's vault. 
 
 And presently took post to tell it you. — . . . 
 
 . . . Get me ink and paper. 
 And hire post-horses ; 1 will hence to-night. — . . . 
 
 . . . Get thee gone. 
 And hire those horses; I'll be with thee straight. 
 Well, jfuliet, I will lie with thee to-night. 
 Let 's see for means : mischief, thou art swift 
 To enter in the thotights of desperate men ! 
 I do remember an apothecary — 
 And hereabouts he dwells — . . . 
 What, ho ! apothecary ! — 
 
 Who- calls so loud ? — 
 Come hither, man. I see that thou art poor ; 
 Hold, there is forty ducats : let me have 
 A dram of poison. . . . 
 Come, cordial, and not poison, go with me 
 To jfuliet's grave; for there I must use thee. — Ibid., v. i. 
 
 Get me an iron crow, and bring it straight 
 Unto my cell. — 
 
 Brother, I 'II go and bring it thee. — 
 Now must I to the monument alone ; 
 Within this three hours will fair jfuliet wake.— Ibid., v. j. 
 
 What cursed foot wanders this way to-night. 
 
 To cross my obsequies and true love's rite ? 
 
 What, with a torch ? muffle me, night, awhile. — 
 
 Give me that mattock and the wrenching iron. 
 
 Hold, take this letter ; early in the morning 
 
 See thou deliver it to my lord and father. . . . 
 
 Wilt thou provoke me ? then have at thee, boy ! — 
 
 Lord ! they fight ! I will go call the watch. — 
 
 Oh, / am slain ! — . . . 
 
 Here's to my love ! O true apothecary I 
 
 Thy drugs are quick. Thus with a kiss I die. — 
 
 Saint Francis be my speed I how oft to-night 
 
 Have my old feet stumbled at graves. . . . 
 
 It burneth in the Capels' monument. — 
 
 It doth so, holy sir ; and there 's my master. 
 
DRAMATIC TIME. 271 
 
 One that you love. — 
 
 Who is it ?— 
 
 Romeo. — 
 How long hath he been there ? — 
 
 FtM half an hour. — . . . 
 Romeo ! O, pale ! Who else ? what, Paris too ? 
 And steep'd in blood ? Ah, what an unkind hour 
 Is guilty of this lamentable chance ! 
 The lady stirs. . . . Lady, come from that nest 
 0^ death, contagion, and unnatural sleep ; 
 A. greater Power than we can contradict 
 Hath thwarted our intents : come, come away : 
 Thy husband in thy bosom there lies dead ; 
 And Paris too : come, I '11 dispose of thee 
 Among a sisterhood of holy nuns ; 
 Stay not to question, for the watch is coming ; 
 Come, go, good Juliet. I dare no longer stay. — 
 Go, get thee hence, for I will not away. 
 What 's here ? a cup, clos'd in my true love's hand ? 
 Poison, I see, hath been his timeless end : 
 
 churl 1 drink all, and leave no friendly drop. 
 To help me after ? I will kiss thy lips ; 
 Haply, some poison yet doth hang on them, 
 To make me die with a restorative. 
 
 Thy lips are warm ! — 
 Lead, boy ; which way ? — 
 
 Yea, noise ? then I'll be brief. happy dagger ! 
 This is thy sheath ; there rest, and let me die. — . . . 
 Pitiful sight ; here lies the County slain ; 
 And Juliet bleeding ; warm, and newly dead, 
 Who here hath lain these two days buried. 
 Go tell the prince — run to the Capulets — 
 Raise up the Montagues. — . . . 
 What misadventure is 50 early up. 
 That calls our person from our morning^ s rest ? — . . . 
 Sovereign, here lies the County Paris slain ; 
 And Romeo dead ; and Juliet, dead before, 
 Warm, and new killed. — . . . 
 Come, Montague ; for thou art early up. 
 To see thy son and heir more early down. — 
 Alas, my liege, y)iy wife is dead to-night. — , . 
 ... I writ to R5me3, 
 That he should hither come as this dire night. 
 To help to take her from her borrow'd grave. 
 Being the tim.e the potion^ s force should cease. . . 
 
 . . . Then, all alone, 
 At the prefixed hour of her waking. 
 Came I to take her from her kindred's vault. — 
 
 1 brought my master news of Juliet's death ; 
 And then in post he came from Mantua, 
 
 To this same place, to this same monument. 
 
 This letter he early bid me give his father. — . . . 
 
 A glooming peace this morning with it brings ; 
 
 The sun, for sorrow, will not show his head. — R. &• jful., v. 3. 
 
 And, secondly, for those of Long Time : — 
 
 The fearful passage of their death-marked love, 
 
 And the continuance of their parents^ rage. 
 Which, but their children's end, naught could remove. 
 
 Is now the two hours' traffic of our stage. — Ibid., i. (Chorus prologue). 
 But passion lends them power, time means, to meet. — Ibid., i. (Chorus). 
 
272 THE SHAKESPEARE KEY. 
 
 If that thy bent of love be honourable, 
 
 Thy purpose marriage, send me word to-tnorrow 
 
 By one that I '11 procure to come to thee. 
 
 Where, and what time, thou wilt perform the rite. . . . 
 
 To-morrow will I send. — . . . 
 
 . . . At what o'clock to-morrow 
 Shall I send to thee ? — 
 
 At the hour of nine. — 
 I will not fail : 'tis twenty years till then. — R. &• jful., ii. 2. 
 
 I anger her sometimes, and tell her that Paris is the properer man. — Ibid., ii, 4. 
 
 To Mantua ; 
 Where thou shalt live, till we can find a time 
 To blaze your marriage, reconcile your friends. 
 Beg pardon of the prince, and call thee back 
 With twenty hundred thousand times more joy 
 Than thou went'st forth in lamentation. . . . 
 Sojourn in Mantua; I '11 find out your man. 
 And he shall signify from time to time 
 Every good hap to you that chances here. — Ibid., iii. 3. 
 And bid her, mark you me, on Wednesday next. . . . 
 . . . Well, Wednesday is too soon ; 
 0' Thursday let it he : 0' Thursday tell her. 
 She shall be married to this noble earl. . . . 
 
 . . . what say you to Thursday ? — 
 My lord, I would that Thursday were to-morrow. — - 
 Well, get you gone : 0' Thursday be it, then. — Ibid., iii. 4. 
 To be to thee this night a torch-bearer. 
 And light thee on thy way to Mantua. . . . 
 I must hear from thee every day in the hour. 
 For in a minute there are many days : 
 Oh, by this count I shall be much in years, 
 Ere I again behold my Romeo. — 
 Farewell ! I will omit no opportunity 
 That may convey my greetings, love, to thee. — Ibid., iii. 5. 
 Evermore weeping for your cousin's death ? 
 What, wilt thou wash him from his grave with tears ? . . . 
 
 . . . I'll send to one in Mantua, 
 Where that same banish'd runagate doth live. 
 Shall give him such an unaccustom'd dram. 
 That he shall soon keep Tybalt company. — Ibid., iii. 5. 
 
 Early next Thursday morn, 
 The gallant, young, and noble gentleman. 
 The County Paris, at Saint Peter's Church, 
 Shall happily make thee there a joyful bride. — . 
 But fettle your fine joints 'gainst Thursday next. 
 To go with Paris to Saint Peter's Church. . . . 
 I tell thee what, get thee to church 0' Thursday, 
 Or never after look me in the face. . . . 
 Thursday is near ; — . . . 
 Delay this marriage for a month, a week. . . . 
 Is it more sin to wish me thus forsworn. 
 Or to dispraise my lord with that same tongue 
 Which she hath praised him with above compare 
 So many thousand times ? — Ibid., iii. 5. 
 
 On Thursday, sir ? the time is very short. — . . . 
 That may be, must be, love, on Thursday next. . . . 
 Juliet, on Thursday early will I rouse you : 
 
 Till then, adieu ; and keep this holy kiss. — . . . 
 
 I hear thou must, and nothing may prorogue it. 
 
DRAMATIC TIME. 273 
 
 On Thursday next be married to this County. — . . . 
 
 . . . Wednesday is to-morrow ; 
 To-morrow night look that thou lie alone. . . . 
 And in this borrow'd likeness of shrunk death 
 Thou shali continue two and forty hours, 
 And then awake as from a pleasant sleep. . . . 
 In the meantime, against thou shalt awake, 
 Shall Romeo by my letters know our drift ; 
 And hither shall he come : and he and I 
 Will watch thy waking, and that very night 
 Shall Romeo bear thee hence to Mantua. — R. &• ful., iv. 1. 
 No, not till Thursday ; there is time enough. — Ibid., iv. 2. 
 
 How now, Balthazar ! 
 Dost thou not bring me letters from the friar ? . . . 
 I do remember an apothecary — 
 And hereabouts he dwells — which late I noted. . . . 
 As I remember, this should be the house. — Ibid., v. i. 
 Welcome yVom Mantua : What says Romeo ? 
 Or, if his mind be writ, give me his letter. — 
 Going to find a bare-foot brother out, 
 One of our order, to associate me. 
 Here in this city visiting the sick. 
 And finding him, the searchers of the town, 
 Suspecting that we both were in a house 
 Where the infectious pestilence did reign, 
 SeaVd up the doors, and would not let us forth ; 
 So that my speed to Mantua there was stayed. — Ibid., v. 2. 
 What said my man, when my betossed soul 
 Did not attend him as we rode ? — Ibid., v. 3. 
 And Juliet bleeding; warm, and newly dead, 
 Who here hath lain these two days buried. — Ibid., v. 3. 
 
 Meantime I writ to Romeo. . . . 
 But he which bore my letter. Friar John, 
 Was stay'd by accident ; and yesternight 
 Return'd my letter back. — Ibid., v. 3. 
 / brought my master news of Juliet's death ; 
 And then in post he came from Mantua, 
 To this same place, to this same monument. — Jbid., v. 3. 
 
 In his drama of " Pericles," besides introducing Gower as Chorus at 
 occasional intervals to mark the progress of the story, and denote the 
 lapses of time that take place at certain stages of it, Shakespeare has 
 strewed amid the scenes some passages indicative of Dramatic Time, 
 both short and long. But those of Short Time are generally such as 
 notify periods arrived or past, and incidents happening or having 
 occurred. The passages conveying the effect of Short Time are the 
 following: — 
 
 Young prince of Tyre, you have at large received 
 
 The danger of the task you undertake. — 
 
 / have, Antiochus, — . . . 
 
 Scorning advice, read the conclusion, then ; 
 
 Which read and not expounded, 'tis decreed. 
 
 As these before thee, thou thyself shalt bleed. — . . . 
 
 Like a bold champion, I assume the lists, 
 
 Nor ask advice of any other thought 
 
 But faithfulness and courage. — {Reads the riddle. . . . 
 
 . . . Your time 's expir'd : 
 
 Either expound now, or receive your sentence. — . . . 
 
 T 
 
274 THE SHAKESPEARE KEY. 
 
 , . . He has found the meaning : 
 
 But I will gloze with him. . . . 
 
 He hath found the meaning, for the which we mean 
 
 To have his head. . . . 
 
 Thaliard behold, here 's poison, and here 's gold ; 
 
 We hate the prince of Tyre, and thou must kill him : . 
 
 Let your breath cool yourself , telling your haste. — 
 
 My lord, prince Pericles is fled. — 
 
 As thou 
 
 Wilt Vive, fly after . . . ne'er return, 
 
 Unless thou say, " Prince Pericles is dead." — Per., i. i. 
 So, this is Tyre, and this the court. Here must I kill king Pericles . . Hush I 
 here come the lords of Tyre. — . . . Lord Thaliard from Antiochus is welcome, — 
 
 From him I cotne. 
 
 With message unto princely Pericles ; 
 
 But, since my landing, I have understood 
 
 Your lord hath betook himself to unknown travels. 
 
 My message must return from whence it came. — Ibid., i. 3. 
 
 We have heard your miseries as far as Tyre, 
 
 And seen the desolation of your streets : 
 
 Nor come we to add sorrow to your tears, 
 
 But to relieve them of their heavy load. — . . . 
 
 Your grace is welcome to our town and us. — 
 
 Which welcome we HI accept. — Ibid., i. 4. 
 The good in conversation 
 (To whom I give my benison) 
 Is still at Tharsus. — Ibid., ii. (Chorus). 
 Hark you, sir ; do you know where you are ? — Not well. — ^Why, I '11 tell you : this 
 is called Pentapolis, and our king, the good Simonides. — . . . How far is his court 
 distant from this shore? — Marry, sir, half-a-day's journey : and I '11 tell you, he hath a 
 fair daughter, and to-morrow is her birthday ; and there are princes and knights come 
 from all parts of the world, to just and tourney for her love. — Were my fortunes equal 
 to my desires, I could wish to make one there. — 
 
 . . . My shipwreck now 's no ill, 
 
 Since I have here my father's gift in 's will. — 
 
 What mean you, sir ? — 
 
 To beg of you, kind friends, this coat of worth. . . . 
 
 And that you 'd guide me to your sovereign's court. 
 
 Where vvith it I may appear a gentleman ; — . . . 
 
 Why, wilt thou tourney for the lady ? — 
 
 I '11 show the virtue I have borne in arms. — 
 . Why, do ye take it; and the gods give thee good on 't ! — ... and I 'II bring thee to 
 the court myself. — 
 
 Then honour be but a goal to my will. 
 
 This day I HI rise, or else add ill to ill. — Ibid., ii. 1. 
 
 Are the knights ready to begin the triumph ? — 
 
 They are, my liege. — . . . 
 
 'Tis now your honour, daughter, to explain 
 
 The labour of each knight in his device. — . . . 
 
 And what 's the sixth and last, the which the knight himself 
 
 With such a graceful courtesy deliver'd ? — 
 
 He seems to be a stranger; but his present is 
 
 A wither'd branch, that 's only green at top ; 
 
 The motto, " In hac spe vivo." — . . . 
 
 He well may be a stranger, for he comes 
 
 To an honoured triumph strangely furnished. — 
 
 And on set purpose let his armour rust 
 
 Until this day, to scour it in the dust. — . . . 
 
 But stay, the knights are coming : we '11 withdraw 
 
 Into the gallery. — Ibid., ii. 2. 
 
DRAMATIC TIME. 275 
 
 Prepare for mirth, for mirth becomes a feast : 
 You are princes and my guests. — 
 
 But you, my knight and guest ; 
 To whom- this wreath of victory I give, 
 And crown yon king of this day^s happiness. — . . , 
 
 . . . Come, queen 0' the feast 
 (For, daughter, so you are), here take your place : 
 Marshal the rest, as they deserve their grace. — . . . 
 
 . . . he desires to know of you. 
 Of whence you are, your name and parentage. — 
 A gentleman of Tyre (my name, Pericles ; 
 My education been in arts and arms), 
 Who, looking for adventures in the world, 
 Was by the rough seas reft of ships and men. 
 And, after shipwreck, driven upon this shore. — . . . 
 Come, gentlemen, we sit too long on trifles, 
 And waste the time which looks for other revels. 
 Even in your armours, as you are addressed. 
 Will very well become a soldier^s dance. — . . . 
 
 . . . Unclasp, unclasp ; 
 Thanks, gentlemen, to all ; all have done well, 
 Bui you the best. Pages and lights to conduct 
 These knights unto their several lodgings ! Yours, sir, 
 We have given order to be next our own. — 
 I am at your grace's pleasure. — 
 Princes, it is too late to talk of love ; 
 And that 's the mark I know you level at : 
 Therefore, each one betake him to his rest ; 
 To-morrow, all for speeding do their best. — Per., ii. 3. 
 
 Even in the height and pride of all his glory. 
 When he was seated, and his daughter with him. 
 In a chariot of inestimable value, 
 A fire from heaven came and shrivelled up 
 Their bodies, even to loathing. — Ibid,, ii. 4. 
 
 Lord Helicane, a word. — 
 With me ? and welcome. Happy day, my lords. — 
 Know, that our griefs are risen to the top. 
 And iww at length they overflow their banks. — Ibid., ii. 4. 
 
 Good morrow to the good Simonides. — . . . 
 
 Though loath to bid farewell, we take our leaves, — 
 
 So, they're well despatched ; now to my daughter's letter: 
 
 She tells me here, she 'II wed the stranger knight. 
 
 Or never more to view nor day nor light. 
 
 'Tis well, mistress ; your choice agrees with mine. . . . 
 
 Well, I commend her choice ; 
 
 And will no longer have it be delay'd. 
 
 Soft ! here he comes : I must dissemble it. — . . 
 
 . . . I am beholden to you. 
 For your sweet music this last night. — . . . 
 What do you think of my daughter, sir ? — 
 As of a most virtuous princess. — . . . 
 Here comes my daughter. . . . 
 Therefore, hear you, mistress ; either frame 
 Your will to mine — and you, sir, hear you. 
 Either be rul'd by me, or I 'II make you — 
 Man and wife : nay, come, your hands 
 And lips must seal it too. . . . 
 It pleaseth me so well, that I will see you wed ; 
 Then, with what haste you can, get you to bed. — Ibid., ii. 5. 
 
 T 2 
 
276 THE SHAKESPEARE KEY. 
 
 Now sleep yslaked hath the rout ; 
 
 No din but snores the house about. 
 
 Made louder by the o'erfed breast 
 
 Of this most pompous marriage-feast. 
 
 The cat, with eyne of burning coal. 
 
 Now couches fore the mouse's hole : . . . 
 
 Hymen hath brought the bride to bed. 
 
 Where, by the loss of maidenhead, 
 
 A babe is moulded. Be attent ; 
 
 And time that is so briefly spent. 
 
 With your fine fancies quaintly eche : 
 
 What 's dumb in show, I '11 plain with speech. . . . 
 
 To the court of King Simonides 
 
 Are letters brought. . . . 
 
 . . . The sum of this, 
 
 Brought hither to Pentapolis, 
 
 Yravished the regions round. . . . 
 
 Brief, he must hence depart to Tyre : 
 
 His queen, with child, makes her desire 
 
 (Which who shall cross ?) along to go : 
 
 Omit we all their dole and woe : 
 
 Lychorida, her nurse, she takes. 
 
 And so to sea. . . . 
 
 The lady shrieks, and, well-a-near 
 
 Does fall in travail with her fear : . . . 
 
 In your imagination hold 
 
 This stage the ship, upon whose deck 
 
 The sea-tost Pericles appears to speak. — Per., iii. (Chorus). 
 Lucina, O, 
 Divinest patroness, and midwife gentle 
 To those that cry by night, convey thy deity 
 Aboard our dancing boat ; make swift the pangs 
 Of my queen's travails / Now, Lychorida ! — 
 Here is a thing too young for such a place. 
 Who. if it had conceit, would die, as I 
 Am like to do : take in your arms this piece 
 Of your dead queen. . . . 
 Here 's all that is left living of yotir queen, 
 A little daughter. — . . . 
 
 For thou 'rt the ruddiest welcome to this world. 
 That e'er was prince's child. . . . 
 Sir, your queen must overboard : the sea works high, the wind is loud, and will not 
 lie till the ship be cleared of the dead . . . therefore briefly yield her ; for she must 
 overboard straight. — As you think meet. Most wretched queen ! — Here she lies, sir. — 
 A terrible child-bed hast thou had, my dear ; 
 No light, no fire : the unfriendly elements 
 Forgot thee utterly ; nor have I time 
 To give thee hallow'd to thy grave, but straight 
 Must cast thee, scarcely coffin'd, in the ooze ; . . . 
 
 . . . Hie thee, whiles I say 
 A priestly farewell to her : suddenly, woman. — . . . 
 Mariner, say what coast is this ? — We are near Tharsus. — Thither, gentle mariner, 
 alter thy course for Tyre. When canst thou reach it? — By break of day, if the wind 
 cease.— O, make for Tharsus. There will I visit Cleon, for the babe cannot hold out 
 to Tyrus: there I'll leave it at careful nursing. Go thy ways, good mariner: I'll 
 bring the body presently. — Ibid., iii. i. 
 
 It has been a turbulent and stormy night. — 
 I have been in many ; but such a night as this, 
 Till now, I ne'er endur'd. — . . . 
 
 . . . Good morrow, sir. — 
 Good morrow to your lordship. — 
 
DRAMATIC TIME. 277 
 
 Gentlemen, 
 Why do you stir so early ? — . . . 
 That is the cause we trouble you so early ; . . 
 But I much marvel that your lordship, having 
 Rich tire'about you, should at these early hours 
 Shake off the golden slumber of repose. — . . . 
 
 . . . Sir, even now 
 Did the sea toss upon our shore this chest : — ... 
 
 . . . Wrench it open straight ; . . . 
 
 . . . What 's here ? a corse ■ — 
 
 . . . This chanc'd to-night. — 
 Most likely, sir. — 
 
 Nay, certainly to-night ; 
 For look, how fresh she looks ! 
 This queen will live : nature awakes ; a warmth 
 Breathes out of her : she hath not been entranced 
 Above five hours : see how she 'gins to blow 
 Into life's flower again ! . . . 
 
 . . . Hush, gentle neighbours ! 
 Lend me your hands ; to the next chamber bear her. 
 Get linen : now this matter must be look'd to. 
 For her relapse is mortal. Come, come ; 
 And .iEsculapius guide us ! — Per., iii. j.. 
 
 Most honour'd Cleon, / must needs be gone ; . . . 
 
 . . . My gentle babe Marina (whom, 
 For she was born at sea, I have nam'd so) here 
 I charge your charity withal, and leave her 
 The infant of your care. . . . So I take my leave. — Ibid., iii. 3. 
 
 But since king Pericles, 
 My wedded lord, I ne'er shall see again, 
 A vestal livery will I take me to. — . . . 
 Madam, if this you purpose as you speak, 
 Diana's temple is not distant far. 
 Where you may 'bide until your date expire. — Ibid., iii. 4. 
 
 Imagine Pericles arriv'd at Tyre, 
 
 Welcom'd and settled to his own desire. 
 
 His woful queen we leave at Ephesus, 
 
 Unto Diana there a votaress. 
 
 Now to Marina bend your mind. 
 
 Whom our fast-growing scene must find 
 
 At Tharsus. . . . 
 
 Lychorida, our nurse, is dead : 
 
 And cursed Dionyza hath 
 
 The pregnant instrument of wrath 
 
 Prestfor this blow. The unborn event 
 
 I do commend to your content : 
 
 Only I carry winged time 
 
 Post on the lame feet of my rhyme ; 
 
 Which never could I so convey. 
 
 Unless your thought went on my way, 
 
 Dionyza doth appear. 
 
 With Leonine, a murderer. — Ibid., iv. (Chorus). 
 Thy oath remember ; thou hast sworn to do 't : 
 'Tis but a blow, which never shall be known. 
 Thou canst not do a thing i' the world so soon, 
 To yield thee so much profit.— . . . 
 / will do't ; but yet she is a goodly creature. — 
 
 . . . Here 
 She comes weeping for her only mistress' death. . , 
 Walk with Leonine ; the air is quick there. 
 
278 THE SHAKESPEARE KEY. 
 
 And it pierces and sharpens the stomach. Come, 
 
 Leonine, take her by the arm, walk with her. . . . 
 
 Come, come, I know 'tis good for you. 
 
 Walk half an hotir, Leonine, at the least : 
 
 Remember what I have said. — . . . 
 
 If you require a little space for prayer, 
 
 I grant it ; pray ; but be not tedious, 
 
 For the gods are quick of ear, and I am sworn 
 
 To do my work with haste. . . . 
 
 . . . I am sworn. 
 And will despatch. — . . . 
 A prize ! a prize ! — 
 
 Half-part, mates, half-part. 
 Come, let's have her aboard suddenly. — Per., iv. i. 
 These roguing thieves serve the great pirate Valdes ; 
 And they have seized Marina. Let her go : 
 There 's no hope she 'U return. I 'II swear she 's dead. 
 And thrown into the sea. — Ibid., iv. 2. 
 Come your ways. . . . What 's her price, Boult ? — I cannot be bated one doit of a 
 thousand pieces. — Well, follow me, my masters, you shall have your money presently. 
 Wife, take her in; . . . 
 
 Alack, that Leonine was so slack, so slow ! 
 He should have struck, not spoke ; or that these pirates 
 (Not enough barbarous) had not o'erboard thrown me 
 For to seek my mother ! — . . . 
 You are lit into my hands, where you are like to live. — 
 The more my fault. 
 To 'scape his hands where I was like to die. — Ibid., iv. 3. 
 
 O villain Leonine ! 
 Whom thou hast poison'd too. . . . 
 
 . . . What canst thou say. 
 When noble Pericles shall demand his child ? — 
 That she is dead. — Ibid., iv. 4. 
 
 Thus time we waste, and longest leagues make short ; 
 Sail seas in cockles, have an wish but for 't : . . . 
 Well-sailing ships, and bounteous winds, have brought 
 This king to Tharsus {think this pilot thought ; 
 So with his steerage shall your thoughts grow on). 
 To fetch his daughter home, who first is gone . . . 
 And Pericles, in sorrow all devour'd, 
 With sighs shot through, and biggest tears o'ershow'r'd, 
 Leaves Tharsus, and again embarks. . . . 
 . . . our scene must play 
 His daughter's woe and heavy well-a-day. 
 In her unholy service. Patience, then. 
 
 And think you now are all in Mitylen. — Ibid., iv. 4 (Chorus). 
 Well, / had rather than twice the worth of her, she had ne'er come here. — . . . Here 
 comes the lord Lysimachus, disguised. — . . . Come, we will leave his honour and her 
 together. Go thy ways. — . . . 
 
 ... I did not think 
 Thou couldst have spoke so well ; ne'er dream'd thou couldst. 
 Had I brought hither a corrupted mind. 
 Thy speech had alter'd it. Hold, here 's gold for thee : 
 Persever in that clear way thou goest. 
 And the gods strengthen thee !^. . . 
 
 . . . That the gods 
 Would safely deliver me from this place ! 
 Here, here 's gold for thee. 
 If that thy master would gain by me, 
 Proclaim that I can sing, weave, sew, and dance. 
 
DRAMATIC TIME. 279 
 
 With other virtues, which I '11 keep from boast ; 
 And / will undertake all these to teach. 
 I doubt not but this populous city will 
 Yield many scholars. — . . . 
 Well, I will see what I can do for thee : if I can place thee, I uiill. — Per., iv. 6. 
 Marina thus the brothel 'scapes, and chances 
 Into an honest house, our story says. . . . 
 
 . . . Here we her place ; 
 And to her father turn our thoughts again, 
 Where we left him, on the sea. We there him lost ; 
 Whence, driven before the winds, he is arrived 
 Here where his daughter dwells ; and on this coast 
 Suppose him. now at anchor. The city striv'd 
 God Neptune's annual feast to keep : fi-om whence 
 Lysimachus, our Tyrian ship espies. 
 His banners sable, trimmed with rich expense ; 
 And to him in his barge with fervour hies. — Ibid., v. [Chorus). 
 Sir, there '5 a barge put off from Mitylene, 
 And in it is Lysimachus, the governor. 
 Who craves to come aboard. What is your will ? 
 That he have his. — . . . 
 
 I am the governor of this place you lie before. — 
 Sir, our vessel is of Tyre, in it the king. — . . . 
 Sir, we have a maid in Mitylene, I durst wager. 
 Would win some words of him. — . . . 
 
 . . . Oh, here is 
 The lady that I sent for. Welcome, fair one ! — . . . 
 
 . . . Sir, / will use 
 My utmost skill in his recovery. 
 Provided 
 
 That none but I and my companion maid 
 Be suffered to come near him. — 
 
 Come, let us leave her ; 
 And the gods make her prosperous I — 
 
 Now, blessing on thee ! rise ; thou art my child. — Ibid., v. 1. 
 My temple stands in Ephesus ; hie thee thither, 
 And do upon mine altar sacrifice. — Ibid., v. 2. 
 
 Now our sands are almost run ; 
 
 More a little, and then dumb. 
 
 This, as my last boon, give me — 
 
 For such kindness must relieve me — 
 
 That you aptly will suppose 
 
 What pageantry, what feats, what shows. 
 
 What minstrelsy, and pretty din. 
 
 The regent made in Mitylin, 
 
 To greet the king. So he thriv'd, 
 
 That he is prumis'd to be wiv'd 
 
 To fair Marina ; but in no wise 
 
 Till he had done his sacrifice. 
 
 As Dian bade ; whereto being bound. 
 
 The interim, pray you, all confound. 
 
 In feathered briefness sails are filVd, 
 
 And wishes fall out as they We wilVd. 
 
 At Ephesus, the temple see. 
 
 Our king, and all his company. 
 
 That he can hither come so soon. 
 
 Is by your fancy's thankful boon. — Ibid., v. 2 (Chorus). 
 Hail Dian ! to perform thy just command, 
 / here confess myself the king of Tyre. — . . . 
 Noble sir, 
 
28o THE SHAKESPEARE KEY. 
 
 If you have told Diana's altar true, 
 This is your wife. — . . . 
 
 . . . Ok, come, be buried 
 A second time within these arms. — 
 
 My heart 
 Leaps to be gone into my mother's bosom. — 
 Look, who kneels here I Flesh of thy flesh, Thaisa : 
 Thy burden at sea, and call'd Marina, 
 For she was yielded there. — 
 
 Bless'd and mine own ! — 
 . . . Thaisa, 
 This prince, the fair-betrothed of your daughter 
 Shall mairy her at Pentapolis. — Per., v. 3. 
 
 And the passages denoting Long Time are the following: — 
 
 Not an hour. 
 In the day's glorious walk, or peaceful night 
 (The tomb where grief should sleep), can breed me quiet. 
 Here pleasures court mine eyes, and mine eyes shun them ; 
 And danger, which I fear'd, is at Antioch, 
 Whose arm seems far too short to hit me here : 
 Yet neither pleasure's art can joy my spirits. 
 Nor yet the other's distance comfort me. — . . . 
 Therefore, my lord, go travel for a while. 
 Till that his rage and anger be forgot. 
 Or till the Destinies do cut his thread of life. — . . . 
 Tyre, I now look from thee, then, and to Tharsus 
 Intend my travel, where I 'II hear from thee ; 
 And by whose letters I'll dispose myself. — Ibid., i. 2. 
 He 's gone to travel. — . . . 
 Your lord hath betook himself to unknown travels. — Ibid., i. 3. 
 
 Good Hclicane hath stay'd at home, 
 
 Not to eat honey like a drone 
 
 From others' labours ; for though he strive 
 
 To killen bad, keep good alive ; 
 
 And, to fulfil his prince' desire. 
 
 Sends word of all that haps in Tyre. — Ibid., ii. (Chorus). 
 A gentleman of Tyre . . . 
 Who, looking for adventures in the world. 
 Was by the rough seas reft of ships and men. — Ibid., ii. 3. 
 A twelvemonth longer, let me entreat you 
 To forbear the absence of your king; 
 If in which time expir'd, he not return, 
 I shall with aged patience bear your yoke. — Ibid., ii. 4. 
 
 By many a dearn and painful perch 
 
 Of Pericles the careful search, 
 
 By the four opposing coigns. 
 
 Which the world together joins. 
 
 Is made with all due diligence 
 
 That horse, and sail, and high expense, 
 
 Can stead the guest. — Ibid., iii. (Chorus). 
 My twelve months are expir'd and Tyrus stands 
 In a litigious peace. — Ibid., iii. 3. 
 
 Beseeching you 
 To give her princely training, that she may 
 Be manner'd as she is born. . . . 
 
 . . . Till she be married, madam. 
 By bright Diana, whom we honour, all 
 Unscissar'd shall this hair of mine remain. — Ibid., iii. 3. 
 
DRAMATIC TIME. 2S1 
 
 But since King Pericles, 
 My wedded lord, / ne'er shall see again, 
 A vestal livery will I take me to, 
 And never more have joy. — . . . 
 Diana's temple is not distant far. 
 Where you may 'bide until your date expire. — Per., iii. 4. . 
 
 At Tharsus, and by Clean train'd 
 In music, letters; . . . 
 
 . . . this maid 
 Hight Philoten : and it is said 
 For certain in cur story, she 
 Would ever with Marina be. — Ibid., iv. (Chorus). 
 
 We every day 
 Expect him here : when he shall come, and find 
 Our paragon to all reports thus blasted, 
 He will repent the breadth of his great voyage. . . . 
 
 . . . I saw you lately 
 When you caught hurt in parting two that fought. — Ibid., iv. 1. 
 
 We wept after her hearse. 
 And even yet we mou*n : her monument 
 Is almost finish' d. — Ibid., iv. 4. 
 
 Thus time we waste, and longest leagues make short ; 
 
 Sail seas in cockles, have an wish but for 't ; 
 
 Making (to take your imagination) 
 
 From bourn to bourn, region to region. 
 
 By you being pardon'd, we commit no crime 
 
 To use one language, in each several clim,e 
 
 Where our scenes seem to live. . . . 
 
 . . . Pericles 
 Is now again thwarting the wayward seas. . . 
 Old Escanes, whom Helicanus late 
 Advanc'd in time to great and high estate, 
 Is left to govern. . . . 
 
 . . . He swears 
 Never to wash his face, nor cut his hairs : 
 He puts on sackcloth, and to sea. — Ibid., iv. 4 (Cho;-:is). 
 Our vessel is of Tyie, in it the king; 
 A man, who/oy this three months hath not spoken 
 To any one, nor taken sustenance. 
 But to prorogue his grief.— Ibid., v. i. 
 
 My temple stands in Ephesus ; hie thee thither. — . . . 
 My purpose v/dL^for Tharsus, there to strike 
 The inhospitable Cleon : but I am 
 For other service first ; toward Ephesus 
 Turn our blown sails.— Ibid., v. 2. 
 
 What pageantry, what feats, what shows. 
 
 What minstrelsy, and pretty din. 
 
 The regent made in Mitylin, 
 
 To greet the king. — Ibid., v. 2 (Chorus). 
 
 She at Tharsus 
 Was nurs'd with Cleon : whom at fourteen years 
 He sought to murder ; but her better stars 
 Brought her to Mitylene. . . . 
 And what this fourteen years no razor touch'd. 
 To grace thy marriage-day, I '11 beautify. — Ibid., v. 3. 
 
 Shakespeare occasionally has passages of what may be called Blended 
 Time ; that is to say, passages where effects of Long and Short Time 
 
282 THE SHAKESPEARE KEY. 
 
 are so interfusedly given that he conveys a blended impression of both 
 in the same sentence : — 
 
 My purpose was not to have seen you here; 
 But meeting with Solanio by the way, 
 He did entreat me, past all saying nay, 
 To come with him along, — Mer. of V., iii. 2. 
 / have despatch'd in post 
 To sacred Delphos, to Apollo's temple, 
 Cleomenes and Dion. — W, T., ii. i. 
 Whose loss of his most precious queen and childr-en, nre ^vcn now to be afresh 
 lamented. — Ibid., iv. i. 
 
 How far is it, my lord, to Berkley now ? — 
 
 Believe me, noble lord, 
 
 I am a stranger here in Glo'stershire 
 
 These high, wild hills, and rough uneven ways^ 
 
 Draw out our miles, and make them wearisome ; 
 
 And yet your fair discourse hath been as sugar. 
 
 Making the hard way sweet and delectable. 
 
 But I bethink me, what a weary way 
 
 From Ravenspurg to Cotswold will be found 
 
 In Ross and Willoughby, wanting your company. 
 
 Which, I protest, hath very much beguil'd 
 
 The tediousness and process of my travel. — R, II., ii. 3. 
 
 Nor shall we need his help these fourteen days. . . , 
 
 A shorter time shall send me to you, lords : 
 
 And in my conduct shall your ladies come ; 
 
 From whom you now must steal, and take no leave. — i H. IV., iii. 1. 
 
 How now, good Blunt ! thy looks are full of speed. — 
 
 So hath the business that I come to speak of- 
 
 Lord Mortimer of Scotland hath sent word. 
 
 That Douglas and the English rebels }net. 
 
 The eleventh of this month at Shrewsbury. — * ^ . 
 
 The Earl of Westmoreland set forth to-day ; 
 
 With him my son, Lord John of Lancaster ; 
 
 For this advertisement is five days old ; 
 
 On Wednesday next, Harry, you shall set forward ; 
 
 On Thursday we ourselves will march : 
 
 Our meeting is at Bridgnorth : and, Harry, you 
 
 Shall march through Glo'stershire ; by which account. 
 
 Our business valued, some twelve days hence 
 
 Our general forces at Bridgnorth shall meet. 
 
 Our hands are full of business : let's away ; 
 
 Advantage feeds him fat, while men delay. — Ibid,, iii, j,. 
 
 Therefore, my lords, omit no liappy hour 
 
 That may give fartherance to our expedition ; 
 
 For we have notv no thought in us but France, 
 
 Save those to God, that run before our business. 
 
 Therefore, let our proportions for these wars 
 
 Be soon collected, and all things thought upon. 
 
 That may with reasonable swiftness add 
 
 More feathers to our wings; for, God before, 
 
 We '11 chide this Dauphin at his father's door. 
 
 Therefore, let every man now task his thought. 
 
 That this fair action may on foot be brought, — H. V., i. 2. 
 
 You are they 
 That made the air unwholesome, when you cast 
 Your stinking greasy caps, in hooting at 
 Coriolanus' exile. Now he 's coming. — Coriol., iv. 6. 
 
DUMB SHOWS. 283 
 
 Thursday is near. — R. <&• Jul., iii. 5. 
 
 On Thursday, sir ? the time is very short. — Ibid., iv. i. 
 
 Sir, March is wasted fourteen days. — yul. C, ii. i. 
 
 Some holy angel 
 Fly to the court of England, and unfold 
 His message ere he come ; that a swift blessing 
 May soon return to this our suffering country 
 Under a hand accurs'd I — Macb., iii. 6. 
 
 We here despatch 
 You, good Cornelius, and you, Voltimand, 
 For bearers of this greeting to old Norway. — Hamlet, i. 2. 
 How weary, stale, fiat, and unprofitable 
 Seem to me all the uses of this world I . . . 
 
 . . . That it should come to this ! 
 But two months dead ; nay, not so much, not two : 
 
 . . . and yet, within a month . . . 
 A little month ; or ere those shoes were old 
 With which shefollow'd my poor father's body. 
 Like Niobe, all tears ; why she, even she — 
 
 God ! a beast, that wants discourse of reason, 
 Would have mourn'd longer — married with mine uncle, 
 
 . . . within a month ; 
 Fre yet the salt of most unrighteous tears 
 Had left the flushing in her galled eyes. 
 She married. 0, most wicked speed, to post 
 With such dexterity to incestuous sheets ! — Ibid., i. 2. 
 He shall with speed to England. — Ibid., iii. j.. 
 
 Therefore, prepare you ; 
 
 1 your' commission will forthwith despatch. 
 
 And he to England shall along with you. — Ibid., iii. 3. 
 
 It must be shortly known to him from England, 
 
 What is the issue of the business there. — Ibid., v. 2. 
 
 The exile of her minion is too new ; 
 
 She hath not yet forgot him : some more time 
 
 Must wear the print of his remembrance out, 
 
 And then she's yours. — Cym., ii. 3. 
 
 Lucius hath wrote already to the emperor 
 
 How it goes there. It fits us, therefore, ripely 
 
 Our chariots and our horsemen be in readiness : 
 
 The powers that he already hath in Gallia 
 
 Will soon be drawn to head, from whence he moves 
 
 His war for Britain. — Ibid., iii. 5. 
 
 DUMB SHOWS. 
 
 Into his own plays Shakespeare has sparingly introduced this kind ol 
 dramatic resource; for by a passage in one of his tragedies he has 
 testified how poorly he thought of it as a mere attraction to the 
 illiterate portion of the audience, who were incapable of appreciating 
 good dialogue, and therefore preferred something that appealed merely 
 to the eye : — 
 
 The groundlings ;* who, for the most part, are capable of nothing but inexplicable 
 dumb shows and noise. — Hamlet, iii. 2. 
 
 * Thus called because they occupied the ' ground ' or ' pit ' of the theatre. 
 
284 THE SHAKESPEARE KEY. 
 
 So "inexplicable" were most of these "dumb shows" — when left 
 merely to their self-denoting demonstration unaided by verbal explana- 
 tion — that they were usually accompanied by some kind of ' ' Prologue, ' ' or 
 "Chorus," who explained to the audience that which these shows were 
 intended to represent; just as the "motions" or "puppet-shows," then 
 in vogue, had a showman who interpreted the meaning of his exhibition 
 to its spectators. This particular is denoted by the following passage, 
 where Speed, observing Silvia approach and Valentine advance to meet 
 her, likens the lady to a well-dressed figure or doll, and his master to a 
 showman or interpreter who will supply her with speech by opening 
 dialogue : — 
 
 Oh, excellent motion I Oh, exceeding fupjiet .' now will he interpret to her. — Two G. 
 of v., ii. I. 
 
 Tokens of the practice of having a prologue or chorus to explain a 
 dumb show, and an interpreter to explain a puppet-show, are also to 
 be traced in some of the following passages that enumerate the Dumb 
 Shows occurring in Shakespeare's plays : — 
 
 B?iter Pyramus and Thisbe, Wall, Moonshine, and Lion, as in dumb show. 
 Prologue. Gentles, perchance you wonder at this show ; 
 
 But wonder on, till truth make all things plain. 
 
 This man is Pyramus, if you would know; 
 
 This beauteous lady Thisby is, &c. — Mid. N. D., v. x. 
 The Vision.* — Enter, solemnly tripping one after another, six Personages, clad in 
 white robes, 'searing on their heads garlands of bays, and golden vizards on their 
 faces ; branches of bays, or palm, in their hands. They first congee unto her, then 
 dance; ana, at certain changes, the first two hold a spare garland over her head ; 
 at which, the other four make reverend court'sies : then, the two that held the garland 
 deliver the same to the other next two, who observe the same order in their changes, 
 and holding the garland over her head : which done, they deliver the same garland to 
 the last two, who likewise observe the same order : at which (as it were by inspiration) 
 she makes in her sleep signs of rejoicing, and holdeth up her hands to heaven : and 
 so in their dancing they vanish, carrying the garland with them. The music 
 continues. — H. VIII., iv. 2. 
 
 Trumpets sound. The Dumb Show enters. 
 
 Enter a King and a Queen, very lovingly ; the Queen embracing him. She kneels, 
 and makes show of protestation unto him. He takes her up, and declines his head 
 upon her neck: lays him down upon a bank of flowers : she, seeing him asleep, 
 leaves him. Anon comes in afellow, takes off his crown, kissesit, and pours poison 
 in the king's ears, and exit. The Queen returns, finds the King dead, and makes 
 passionate action. The Poisoyier, with some two or three mutes, comes in again, 
 seeming to lament with her. The dead body is carried away. The Poisoner wooes 
 the Queen with gifts : she seems loath and unwilling awhile ; but in the end accepts 
 his love. [Exeunt. 
 
 Ophelia. What means this, my lord ? . . . Belike, this show imports the argument 
 
 of the play. 
 
 Enter Prologue. 
 
 Hamlet. We shall know by this fellow. . . . 
 Ophelia. Will he tell us what this show meant ? 
 
 * Strictly, this "Vision" does not perhaps come under the denomination of a 
 Dumb Show ; but rather under that of a pageant, with which the play of Henry 
 VIII. abounds. [See Stage Directions and Entrances ; also. Recurrence of 
 Particular Points.] 
 
ELDER; ELDEST: OLD: OLDER: OLDEST. 285 
 
 Hamlet. Ay. . . . This is one Lucianus, nephew to the king. 
 Ophelia. You are as good as a chorus, my lord. 
 
 Hamlet I could interpret between you and your love, if I could see the puppets 
 dallying. — Hamlet, iii. z. 
 
 Enter CYMSEt,iyE,* attended ; Belarius, Guiderius, Arviragus, Pisanio, and Roman 
 Captives. The Captains present Posthumus to Cymbeline, who delivers him over 
 to a Gaoler ; after which all go out.^Cym., v. 3. 
 
 Entei GowER, as Chorus. 
 
 Here have you seen a mighty king. . . . 
 
 But tidings to the contrary 
 
 Are brought your eyes; what need speak I ? 
 
 Dumb Show. 
 Enter, from one side, Pericles, talking with Cleon ; their trains with them. Enter, 
 from the other side, a Gentleman, with a letter to Pericles ; who shows the letter 
 to Cleon ; then gives the messenger a reward, and knights him. Exeunt Pericles, 
 Cleon, &-c., severally. — Per., ii. (Gower). 
 
 Enter Gower, as Chorus. 
 
 Now sleep yslaked hath the rout. . . . 
 What's dumb in show, I'll plain with speech. 
 
 Dumb Show. 
 
 Enter, from one side, Pericles attd Simonides, with Attendants ; a Messenger meets 
 them, kneels, and gives Pericles a letter : he shows it to Simonides ; the lords 
 kneel to Pericles. Then, enter Thaisa with child, and Lychorida : Simonides 
 shows his daughter the letter; she rejoices: she and Pericles take leave of her 
 father, and depart with Lychorida and their Attendants. Then, exeunt 
 Simonides' oBd the rest. — Ibid., iii. (Gower). 
 
 Enter Gower, as Chorus, before the monument of Marina at Tharsus. 
 
 Thus time we waste, and longest leagues make short. . . . 
 Like motes and shadows see them move awhile ; 
 Your ears unto your eyes I 'II reconcile. 
 
 Dumb Show. 
 
 Enter, from one side, Pericles with his Train; Cleon and Dionyza from the other. 
 Cleon shows Pericles the tomb of Marina ; whereat Pericles makes lamenta- 
 tion, puts on sackcloth, and in a mighty passion departs. Exeunt the rest. — 
 Ibid., iv. 4. (Gower), 
 
 ELDER: ELDEST: OLD: OLDER: OLDEST. 
 
 Shakespeare occasionally uses these words with a signification that 
 includes much more than mere reference to age and time ; and we 
 think that it is the overlooking this point which has occasioned com- 
 mentators to imperfectly comprehend a passage where the word " elder" 
 occurs, and to propose changing the expression there. If the following 
 various modes in which Shakespeare employs these words, and the 
 
 * This indicates a Dumb Show ; yet it is hardly more than one of the stage directions 
 already given in the present Act. [See Stage Directions and Entrances.] As we 
 have shown, by the instances now cited. Dumb Shows generally occurred at the com- 
 mencement of a scene ; rarely, as in this instance, at the close of a scene. 
 
286 THE SHAKESPEARE KEY. 
 
 inclusive sense he assigns to them, be examined, we believe it will be 
 perceived that "elder" is the expression he used in the passage from 
 " Cymbeline," v. i. : — 
 
 'Tis very true : O wise and upright judge ! 
 
 How much more elder 
 [' sage,' ' experienced,' 'mature in judgment,' as well as 'older,' 'more advanced in 
 age or years '] 
 
 art thou than thy looks ! — Mer. of V., iv. i. 
 
 My gracious lord, I tender you my service, 
 Such as it is, being tender, raw, and young. 
 Which elder days 
 ['a more advanced time ' ; when I shall be less " raw " and ' more experienced,' as 
 well as ' older ' ] 
 
 shall ripen and confirm 
 To more approved service and desert. — R. II., ii. 3. 
 As dissolute, as desperate ; yet, through both 
 I see some sparkles of a better hope. 
 Which elder days 
 ['a more advanced time'; when he shall be 'sager' as well as ' older'] 
 may happily bring forth. — Ibid., v. 3. 
 Danger knows full well 
 That Caesar is more dangerous than he : 
 We are two lions litter'd in one day, 
 And I the elder 
 [' the more potent and mighty,' as well as 'the first born '] 
 and more terrible. — jful. C, ii. 2. 
 I said an elder 
 [' more experienced, from being older and from having had longer practice ' *] 
 soldier, not a better. — Ibid., iv. 3. 
 But in my terms of honour 
 I stand aloof; and will no reconcilement. 
 Till by some elder 
 [of higher authority, of superior responsibility, in questions of punctilio] 
 masters, of known honour, 
 I have a voice and precedent of peace, 
 To keep my name ungor'd. — Hamlet, v. z. 
 When vantage like a pair of twins appear'd 
 Both as the same, or rather ours the elder. 
 [' better,' ' superior,' as well as ' older ' or ' first born 'J . — Ant. &• C, iii. 8. 
 Behold divineness no elder 
 [' superior,' ' more exalted ; ' no ' older ' or ' more dignified ' and ' reverend '] 
 
 than a boy ! — Cym., iii. 6. 
 You snatch some hence for little faults ; that 's love 
 To have them fall no more : you some permit 
 To second ills with ills, each elderj- 
 [ill deed committed by one grown older in a course of ill-doing, more experienced in 
 evil, more hardened in guilt, more confirmed in sin ; ' more hardened,' ' more con- 
 firmed,' ' of larger growth '] 
 
 worse, 
 And make them dread it, to the doers' thrift. — Ibid., v. i. 
 
 * The exact words Cassius had previously used were, " I am a soldier, I, older in 
 practice, abler than yourself to make conditions ; " but the retorts between the friends 
 here, during their quarrel, serve to show that " older " implies something of " better," 
 ' superior,' ' more skilled and practised.' 
 
 f This is the passage (alluded to by us at the beginning of the present heading) 
 where previous commentators have suspected error in the word " elder " ; but which 
 we believe to have been the word here used by Shakespeare. 
 
ELDER: ELDEST: OLD: OLDER: OLDEST. 287 
 
 Then it is thus : the passions of the mind, 
 That have their first conception by mis-dread, 
 Have after-nourishment and life by care : 
 And what was first but fear what might be done, 
 Grows elder 
 [' larger,' ' stronger,' ' more confirmed,' ' more established,' and ' more advanced in 
 time,' ' having attained to a later period'] 
 
 now, and cares it be not done. — Per., i. 2. 
 What is this maid, Vith whom thou wast at play ? 
 Your eld'st [' oldest,' ' longest in time '] 
 
 acquaintance cannot be three hours. — Temp., v. 1. 
 My youngest boy, and yet my eldest 
 [' most important,' ' most urgent,' ' most pressing,' ' first needing attention '] 
 
 care. — Com. of E., i. i. 
 It hath the primal eldest 
 ['earliest elicited,' 'first occurring,' and 'strongest,' 'most heavy'] 
 curse upon 't — 
 A brother's murder ! — Hamlet, iii. 3. 
 
 Shakespeare sometimes uses "old" to express 'mature,' 'well- 
 skilled,' 'proficient ' : — 
 
 His years but young, but his experience old. — Two G. of V., ii. 4. 
 
 Had you been as wise as bold. 
 
 Young in limbs, in judgment old. — Mer. of V., ii. 7 {Scroll). 
 
 I never knew so young a body with so old a head. — Ibid., iv. i (Letter). 
 
 I am only old in judgment and understanding. — 2 H. IV., i. z. 
 
 Sometimes to express ' well-practised,' 'long-accustomed ' : — 
 
 Is he so young a man, and so old a lifter ? — Tr. &• Cr., i. 2. 
 Sometimes to express ' former,' ' bygone ' : — 
 
 And dallies with the innocence of love. 
 Like the old age. — Tw. N., ii. 4. 
 Since the old days of goodman Adam to the pupil age of this present twelve o'clock 
 at midnight. — i H. IV., ii. 4. 
 
 Now old desire doth in his death-bed lie. — R. &• yul., i. 5 (Chorus). 
 This is the old man still. — Timon, iii. 6. 
 
 O, my old friend ! Thy face is valanced since I saw thee last. — Hamlet, ii. w:. 
 Sometimes to express ' long-standing,' ' long-established,' ' long- 
 used' : — 
 
 What old, or newer torture must I receive. — W. T., iii. 2. 
 What, old acquaintance ! could not all this flesh. — i H. IV., v. 4. 
 This is the old fashion ; you two never meet, but you fall. — 2 H. IV., ii. 4. 
 Insisting on the old prerogative and power. — Coriol., iii. 3. 
 Sometimes to express 'before-used,' 'stale,' 'worn-out': — 
 
 That is an old device ; and it was play'd when I. — Mid, N. D., v. i. 
 Our old ling and our Isbels o' the country are nothing like your old ling and your 
 Isbels o' the court. — AlVs W., iii. 2. 
 
 How your fooling grows old, and people dislike it. — Tw. N., i, 5. 
 Musty seeds, remnants of packthread, and old cakes of roses. — R. &• jful., v. i. 
 These are old fond paradoxes, to make fools laugh.— -OiA., ii. 1. 
 Sometimes to express 'confirmed,' 'well-known' : — 
 
 This news is old enough, yet it is every day's news. — M.for M., iii. ^. 
 There 's no news at court, sir, but the old news. — As You L., i. 1. 
 
288 THE SHAKESPEARE KEY. 
 
 This is old : what is the success ? — Ant. &• C, iii. 5. 
 Sometimes to express 'inveterate,' 'long-continued' : — 
 
 Yet I have a trick of the old rage. — Love's L. L., v. 2. 
 Sometimes to express ' practised,' ' hardened ' : — 
 
 Doth she not think me an old murderer, — R. &• yul., iii. 3. 
 
 Sometimes to express ' original,' ' pristiije ' : — 
 
 Virtue cannot so inoculate our old stock, but we shall relish of it. — Ham., iii. 1. 
 Be jointed to the old stock, and freshly grow. — Cym., v. 4. and 5 (Scroll). 
 
 Sometimes to express ' confirmed,' ' genuine ' : — 
 
 This borrow'd passion stands for true old woe. — Per., iv. 4 (Gower). 
 Sometimes as an epithet expressive of familiarity : — 
 
 If the old fantastical duke of dark corners had. — M.for .1/., iv. 3. 
 
 One that old Frederick, your father, loves. — As You L., i. 2. 
 
 The priest was good enough, for all the old gentleman's saying. — Ibid., v. 1. 
 
 How now, old lad ? — Welcome, you. — Tam. of S., iv. i. 
 
 Well, go thy ways, old lad ; for thou shalt ha 't. — Ibid., v. 2. 
 
 And he frequently uses " old " in a sense it formerly bore of ' ex- 
 cessive,' 'extraordinary,' ' abounding,' 'outrageous' : — 
 
 I '11 rack thee with old cramps, fill all thy bones. — Temp., i. 2. 
 Here will be an old abusing of God's patience. — Merry \V., i. 4. 
 Yonder 's old coil at home : it is proved. — M. Ado., v. 2. 
 We shall have old swearing that they did give.— -l/tT. of V. iv. 2. 
 Master, master ! Old news, and such news as you have never heard of ! — Is it new 
 and old too ? how may that be ? — Tam. of S., iii. 2. 
 
 By the mass, here will be old utis : it will be. — 2 H. IV., ii. 4. 
 If a man were porter of hell-gate, he should have old turning the key. — Macb., ii. 3. 
 He occasionally uses " older" to express ' longer accustomed,' 'more 
 experienced,' ' more confirmed,' ' more proficient': — 
 
 I am a soldier, I, older in practice, abler than yourself 
 
 To make conditions. — yul. C, iv. 3. 
 
 An older and a better soldier none 
 
 That Christendom gives out. — Macb., iv. 3. 
 
 And, in the following passage, he uses "oldest ' to express 'most 
 long-practised,' ' most long-known ' : — 
 
 Rob, murder, and commit the oldest sins the newest kind of way ? — 2 H. IV., iv. 4. 
 
 ELISIONAL ABBREVIATIONS. 
 
 Shakespeare uses elisional abbreviations of various kinds. He 
 sometimes employs 'a for 'he,' in familiar or humorous dialogue. 
 He occasionally has an apostrophe before a substantive to express 
 
 'the':— 
 
 Pray heartily he be at 'palace. — W. T., iv. 3. 
 Who knocks so loud at ' door ? — 2 H. IV., ii. 4. 
 A dozen captains stay at 'door for you. — Ibid., ii. 4. 
 
ELISIONAL ABBREVIATIONS. 283 
 
 Sometimes an apostrophe after a word to express ' is ' : — 
 
 Words against me ! This' a good friar belike ! — M.for M., v. i. 
 
 Why, this ' a heavy chance ' twixt him and you. — Tarn, of S., i. 2. 
 
 This ' a good block. — Lear., iv. 6. 
 
 Since Leonatus' false. — Cym., iii. 6. 
 Sometimes an apostrophe after a noun in the singular, to express its 
 plural : — 
 
 Made thee more profit 
 
 Than other princess' can, that have more time 
 
 For vainer hours, and tutors not so curefuL^Temp., i. 2. 
 
 A thousand of his people butchered ; 
 
 Upon whose dead corse' there was such misuse. — i H. IV., i. i. 
 
 Sometimes an apostrophe after a noun or a proper name, instead of 
 the more usual 's, to mark the possessive case: — 
 
 Sits on his horse' back at mine hostess' door. — John, ii. i. 
 The bodies shall be dragged at my horse' heels. — 2 H. VI., iv. 3. 
 Our mistress' sorrows we were pitying. — H. VIII., ii. 3. 
 And to fulfil his prince' desire. — Per., ii. (Gower). 
 Go, call at Flavius' house. — M.for M., iv. 5. 
 By the fire that quickens Niltis' slime. — Ant. &• C, i. 3. 
 He occasionally gives 'd for 'would': — 
 
 We 'd* jump the life to come. — Macb., i. 7. 
 Sometimes he gives ha' for 'have' : — 
 
 Will you ha' the truth on 't ? — Hamlet, v. i. 
 Sometimes ha't for 'have it': — 
 
 Sir, I pray you, let me ha 't. — Coriol., ii. 3. 
 In a few instances it 's for 'it is ' ; instead of the more usual abbrevia- 
 tion, 'tis (of which, of course, Shakespeare has numerous examples 
 needless to cite) : — • 
 
 It's supper-time, my lord; it's nine o'clock. — R. III., v. 3. 
 And it's come to pass, this tractable obedience is a slave. — H. VIII., i. i. 
 The hey-day in the blood is tame, it 's humble, — Hamlet, iii. 4. 
 It 's true, good lieutenant. — 0th., ii. 3. 
 
 Yet still it 's strange 
 What Cloten 's being here to us portends. — Cym., iv. 2. 
 
 Sometimes '11 for ' will ' : — 
 
 I 'II put a girdle round the earth 
 
 In forty minutes. — Mid. N. D., ii. 2. 
 
 I 'II give him my commission. — W. T., i. 2. 
 
 We 'II fit the kid-fox with a pennyivorth. — M. Ado, ii. 3. 
 
 We 'II thwack him hence with distaffs. — W. T., i. 2. 
 
 Sometimes o' for ' of : — 
 
 We, poor unfledg'd. 
 Have never wing'd from view 0' the nest. — Cym., iii. 3. 
 
 Sometimes o' for ' off' . — 
 
 You i' the camlet, get up o' the rail. — H. VIII., v. 3. 
 
 * Printed in the 1623 Folio, Wee 'Id. 
 
2go THE SHAKESPEARE KEY. 
 
 Sometimes o' for ' on ' : — 
 
 Cupid hath clapp'd him o' the shoulder. — As You L.. iv. i. 
 
 O' Thursday let it be: o' Thursday, tell her.— i?. & juL, iii. 4. 
 
 Sometimes 'r for 'our': — 
 
 By V lady, sir, and some dogs will catch well. — T'.c. -V.. ii. 3. 
 By V lakin, I can go no farther, sir. — Temp., iii. 5. 
 
 In some instances, he uses 's for 'has':^ 
 
 For he 's a spirit of persuasion. — Temp., ii. i. 
 He 'i walk'd the way of nature. — 2 H. IV., v. 2. 
 
 In one instance, Shakespeare uses 's for 'he is ' : — 
 Though he be painted one way like a Gorgon, 
 The other way '5 a Mars. — Ant. &• C, ii. 5. 
 
 In some instances, he uses 's for 'his': — 
 
 But Tuesday night last gone, in 's garden-house. 
 
 He knew me as a wife. — M.for M., v. i. 
 
 To let him there a month behind the gest 
 
 Prefix'd for'i parting. — W. T., i. 2. 
 
 Neither the king, nor 's heirs, 
 
 (Tell you the duke) shall prosper. — H. VIII., i. 2. 
 One hand on his dagger. 
 
 Another spread on 's breast. — Ibid., i. z. 
 He hath a witchcraft 
 
 Over the king in 'j tongue. — Ibid., iii. 2. 
 
 The master-cord on's heart! — Ibid., iii. 2. 
 
 There is a mutiny in 's mind. — Ibid., iii. 2. 
 A plague upon Antenor ! I would they had broke 'i neck ! — Tr. &• Cr., iv. 2. 
 
 Will he swagger himself out on 's own eyes ? — Ibid., v. 2. 
 On 'j brows ; Menenius, he comes the third time home with the oaken garland. — 
 Coriol., ii. i. 
 
 Death, that dark spirit, in '5 nervy arm doth He. — Ibid., ii. i. 
 
 A curse begin at very root on 's heart. 
 
 That is not glad to see thee! — Ibid., ii. 1. 
 
 That to 's power he would have made them mules. — Ibid., ii. i. 
 
 He had rather venture all his limbs for honour. 
 
 Than one on'j ears to hear it. — Ibid., ii. 2. 
 
 He would not flatter Neptune for his trident. 
 
 Or Jove for's power to thunder. — Ibid., iii. i. 
 
 Tie leaden pounds to 's heels. — Ibid., iii. i. 
 
 Sanctifies himself with'i hand. — Ibid., iv. 5. 
 
 Banquo's buried ; he cannot come out on 's grave. — Macb., v. 1. 
 
 There are no tongues else for 's turn. — Hamlet, v. 2. 
 
 If a man's brains were in'j heels. — Lear, i. 5. 
 Why one's nose stands in the middle on 'i face ? — No. — Why, to keep one's eyes 
 of either side 's nose. — Ibid., i. 5. 
 
 Go, tell the duke and 's wife I 'd speak with them. — Ibid., ii. 4. 
 
 His daughter, and the heir of 'i kingdom. — Cym., i. i. 
 
 And in 's spring became a harvest. — Ibid., i. 1. 
 
 Still waving, as the fits and stirs of 'i mind 
 
 Could best express how slow his soul sail'd on. 
 
 How swift his ship. — Ibid., i. 4. 
 
ELISION AL ABBREVIATIONS. 291 
 
 Cams Lucius 
 Will do '5 commission throughly. — Cym., ii. 4. 
 Why, one that rode to '5 execution, man, 
 Could never go so slow. — Ibid., iii. z. 
 And thus I set my foot on 'j neck. — Ibid., iii. 3. 
 I know the shape of 'j leg. — Ibid., iv. ^. 
 In doing this for 's country. — Ibid., v. 3. 
 Your death has eyes in 's head, then. — Ibid., v. 4. 
 I cut oiT's head. — Ibid., v. 5. 
 Since I have here my father's gift in 's will. — Per., ii. i. 
 
 In Other instances, he uses 's for 'is' : — 
 
 And then I '11 bring thee to the present business 
 
 Which now 'j upon 's. — Temp., i. 2. 
 
 Consider whom the king your father sends ; 
 
 To whom he sends ; and what '5 his embassy. — Love's L. L., ii. 1. 
 
 A woman 's general ; what should we fear .■' — 3 H. VI., i. 2. 
 
 And high note 's 
 Ta'en of your many virtues. — H. VIII., ii. 3. 
 
 His heart 'j his mouth ; 
 What his breast forges, that his tongue must vent. — CorioL, iii. i. 
 One score 'twixt sun and sun. 
 Madam 's enough for you, and too much too. — Cyvt., iii. i. 
 
 Nor know not 
 What air 's from home. — Ibid., iii. 3, 
 There 's livers out of Britain. — Ibid., iii. 4 
 My shipwreck now 's no ill. — Per., ii. i. 
 Were more than you expect, or more than 's fit. — Ibid., ii. 3. 
 Nay, how absolute she 's in 't — Ibid., ii. 5. 
 On one occasion, he uses 's to express 'is as' : — 
 
 Thou art the best o' the cut-throats : yet he 's good 
 That did the like for Fleance. — Macb., iii. 4. 
 
 He also uses 's elliptically, for 'which is': — 
 
 Where liest o' nights, Timon ? — Under that's above me. — Timon, iv. 3. 
 Likewise elliptically, for ' who is ' : — 
 
 Thou speak'st like him 's untutor'd to repeat. — Per., i. 4. 
 In other cases he employs 's ' for us ' : — 
 
 The present business 
 Which now 's upon 's. — Temp., i. ^. 
 We '11 part the time between 's then. — W. T., i. 2. 
 We are yours i' the garden : shall 'i attend you there ? — Ibid., i. 2. 
 
 Many thousand on 's 
 Have the disease, and feel 't not. — Ibid., i. 2. 
 
 Pray you, sit by us, 
 And tell'j a tale. — Ibid., ii. i. 
 
 This is a match. 
 And made between 'j by vows. — Ibid., v. 3. 
 And let 'i away to London. — 3 H. VI., v. 5. 
 
 And then let 's dream 
 Who's best in favour. — H. VIII., i. 4. 
 Shall 'i to the Capitol ? — CorioL, iv. 6. 
 
 Yet do not 
 Upbraid 's with our distress. — Ibid., v. i. 
 
 U 2 
 
292 THE SHAKESPEARE KEY. 
 
 If he covetously reserve it, how shall '5 get it ? — Tiinon, iv. 3. 
 Kind gentlemen, let 'i go see poor Cassio dress'd. — 0th., v. i. 
 Say, where shall 's lay him ? — Cym., iv. 2. 
 Where we have liv'd ; and so extort from 's that 
 Which we have done. — Ibid., iv. 4. 
 Shall 's have a play of this ? — Ibid., v. 5. 
 
 We will die all three, 
 But I will prove that two on 's are as good 
 As I have given out him.^Ibid., v. 5. 
 
 In one passage he uses 'st for 'hast' :■ — 
 
 I 'II say, thou 'st gold : 
 Thou wilt be throng'd to shortly, — Timon, iv. 3. 
 
 He frequently uses 't for ' it ' : — 
 
 There 's something in 7,* 
 More than my father's skill. — AlVs W., i. 3. 
 There is something in 't that stings his nature. — Ibid., iv. 3. 
 
 There 's something in 't 
 That is deceivable. — Tw. N., iv. 3. 
 One day shall crown the alliance on 'i, so please you. — Ibid., v. 1. 
 
 This tempest. 
 Dashing the garment of this peace, aboded 
 The sudden breach on 't. — H. VIII., i. i. 
 
 Is it therefore 
 Th' embassador is silenc'd ? — 
 
 Marry, is 't. — Ibid., i. i. 
 Induce you to the question on H ? — Ibid., ii. 4. 
 Bearing a state of mighty moment in 'i. — Ibid., ii. 4. 
 
 And, I fear. 
 Thou play'dst most foully for 't. — Macb., iii. x. 
 Will you ha' the truth on 't ? — Hamlet, v. i. 
 Since the true life on 't was. — Cym., ii. 4. 
 
 If 'i be summer news. 
 Smile to H before. — Ibid., iii. 4. 
 
 r the world's volume 
 Our Britain seems as of it, but not in H. — Ibid., iii. 4. 
 These flowers are like the pleasures of the world ; 
 This bloody man, the care on 'f. — Ibid., iv. 2. 
 Bid the captains look to H. — Ibid., iv. 2. 
 
 I have belied a lady. 
 The princess of this country, and the air on '< 
 Revengingly enfeebles me. — Ibid., v. 2. 
 Augustus lives to think on 't. — Ibid., v. 5. 
 How absolute she 's in H. — Per., ii. 5. 
 Now the good gods 
 Throw their best eyes upon '? .' — Ibid., iii. i. 
 Unscissar'd shall this hair of mine remain. 
 Though I show ill in ^t. — Ibid., iii. 3. 
 
 * In the present passage " in 't " (printed distinctly thus in the Folio, in all the three 
 passages where this abbreviation occurs) was proposed by Hanmer to be altered to 
 'hints'; an alteration adopted by Warburton and by some other editors since. But 
 the original expression, " there 's something in 't," is twice again used by Shakespeare 
 (once in this very play) ; whereas he never uses ' hint ' as a verb, always as a noun. 
 
ELISIONAL ABBREVIATIONS. 293 
 
 There is one instance of Shakespeare's using "you 're " to express ' you 
 were,' instead of the more ordinary meaning 'you are' ; of which latter 
 abbreviation there are, of course, in his works many instances that 
 need not be cited : — 
 
 Madam, j)oz(V« best consider. — Cym., iii. 2. 
 
 And an instance of " thou 'rt " for 'thou wert,' not 'thou art' : — 
 Fetch us in fuel ; and be quick, thou 'rt best. — Temp., ii. 2. 
 
 There are some words which Shakespeare sometimes elisionally 
 abbreviates : — 
 
 The kitchen malkin pins 
 Her richest lockram 'bout [about] her reechy neck. — Coriol., ii. 1. 
 Here's a few flowers; but 'bout [about] midnight, more. — Cym., iv. ^. 
 'Twould 'braid [upbraid] yourself too near for me to tell it. — Per., i. 1. 
 Thou shalt 'by [aby] this dear. — Mid. N. D., iii. 2. 
 
 What 'cerns [concerns] it you if I wear pearl and gold. — Tam, of S., v. 1. 
 That no man 'counts [accounts] of her beauty. — Two G. of V., ii. i. 
 Murder, stern murder, in the dir'st [direst] degree. — R. III., v. 3. 
 As he, being 'drest [addrest] to some oration. — Tr. &• Cr., i. 3. 
 Your eld'st [eldest] acquaintance cannot be three hours. — Temp., v. i. 
 As, let 'em [them] have their rights, they're ever forward. — H. VIII., iv. 1. 
 The farced title running 'fore [before] the king. — H. V., iv. i. 
 But fettle your fine joints 'gainst [against] Thursday next. — R. &■ ^iiL, iii. 5. 
 Some say, that ever 'gainst [against] that season comes. — Hamlet, i. i. 
 The din of war 'gan [began] pierce his ready sense. — Coriol., ii. 2. 
 I 'gin [begin] to be a-weary of the sun. — Macb., v. 5. 
 Now 'gins [begins] to bite the spirits. — Temp., iii. 3. 
 Perjury, perjury, in the high'st [highest] degree. — R. III., v. 3. 
 If you are learn'd, [learned] be not as common fools. — Coriol., iii. i. 
 All this coil is 'long [along] of you. — Mid. N. D., iii. 2. 
 By law of nature and of nations, 'long [belong] 
 To him and to his heirs. — H. V., ii. 4. 
 
 With such austerity as 'longeth [belongeth] to a father. — Tam. of S., iv. 4. 
 It is an honour 'longing [belonging] to our house. — All's W., iv. 2. 
 No ceremony that to great ones 'longs [belongs], — M.for M., ii. 2. 
 Lay me stark nak'd [naked], and let the water-flies 
 Blow me into abhorring! — Ant. &• C, v. ■.:. 
 
 That I have 'nointed [anointed] an Athenian's eyes. — Mid. N. D., iii. 2. 
 I '11 bring him the best 'parel [apparel] that I have. — Lear, iv. i. 
 I '11 give thee, ere I leave thee, so much money. 
 To warrant thee, as I am 'rested [arrested] for. — Com. of E., iv. 4. 
 
 The man, sir, that, when gentlemen are tired, gives them a fob, and 'rests [arrests] 
 them. — Ibid., iv. 3. 
 
 Of all 'say'd [assayed] yet, may'st thou prove prosperous i 
 
 Of all 'say'd [assayed] yet, I wish thee happiness ! — Per., i. i. 
 
 That 'scuse [excuse] serves many men to save their gifts. — Mer, of V., iv. iv 
 
 Search for a jewel, that too casually 
 
 Hath left mine arm : it was thy master's ; 'shrew [beshrew] me. 
 
 If I would lose it for a revenue 
 
 Of any king's in Europe. — Cym., ii. 3. 
 
294 'iHE SHAKESPEARE KEY. 
 
 And 'stablish [establish] quietness on every side. — i H. VI., v. i. 
 
 Unto her 
 He gave the Establishment [establishment] of Egypt. — Ant. &• C, iii. 6. 
 The most opportune place, the strong'st [strongest] suggestion. — Temp.,iv. i. 
 By looking back what I have left behind 
 'Stray' d [destroyed] in dishonour. — Ant. &• C, iii. g. 
 'Tide [betide] life, 'tide [betide] death, I come without delay. — Mid. N. D., v. i. 
 
 Of all the men i' the world 
 I would have 'voided [avoided] thee. — Coriol., iv. 5. 
 Thou speakest wiser than thou art 'ware [aware] of. — Nay, I shall ne'er be 'ware 
 [aware] of mine own wit, till I break my shins against it. — As You L., ii. 4. 
 'Ware [beware] pencils, ho\— Love's L. L., v. z. 
 The bull has the game: 'ware [beware] horns, ho! — Tr. &• Cr., v. 8. 
 Whe'r* [whether] thou be'st he or no. — Temp., v. i. 
 
 Good sir, say whe'r [whether] you '11 answer me or no. — Com. of E., iv. 1. 
 And gape at wid'st [widest] to glut him. — Temp., i. i. 
 
 He has elisionally abbreviated forms, that are in popular use, of some 
 proper names : — 
 
 Oh, my lord Aberga'ny [Abergavenny], fare you well ! — H. VIII., i. i. 
 Maud, Bridget, Marian, Cicely, Gillian, Jen' [Jenny] ! — Com. of E., iii. 1. 
 
 ELLIPSES OF COMPARISON. 
 
 Shakespeare has several passages of comparison and similitude, 
 where the mode of expression is very elliptical : — 
 
 Oh, gentle Proteus, Love's a mighty lord. 
 And hath so humbled me, as, I confess. 
 There is no woe [comparable] to his correction, 
 
 Nor [in comparison] to his service no such joy on earth ! — Two G. of V., ii. 4. 
 All I can is nothing [in comparison] to her [merit]. — Ibid., ii. 4. 
 He is then a giant [as compared] to an ape : but then is an ape a doctor [as com- 
 pared] to such a man. — M. Ado, v. i. 
 
 And much too little of that good I saw 
 
 Is my report [compared] to his great worthiness. — Love's L. L., ii. 1. 
 This third, dull lead, with warning all as blunt [as the lead is dull]. — Mer. of V., ii. 7. 
 I would she were as lying a gossip in that as [any gossip who] ever knapped ginger. 
 — Ibid., iii. i. 
 
 She's a lamb, a dove, a fool [compared] to him. — Tarn, of S., iii. 2. 
 I 'd give bay Curtal and his furniture, 
 
 My mouth no more were broken than these boys' [mouths are broken]. — All'sW., ii. 3. 
 War is no strife [compared] to the dark house and the detested wife. — Ibid., ii. 3. 
 I will devise a death as cruel for thee 
 As thou art tender [compared] to 't. — W. T., iv. 3. 
 O'ershine you as much as the full moon doth the cinders of the element, which show 
 like pins' heads [as compared] to her. — 2 H. IV., iv. 3. 
 Unto whose grace our passion is as subject 
 As are our wretches fetter'd in our prisons [subject to our grace]. — H. V., i. z. 
 
 * The Folio generally misprints this abbreviation ' where ' ; but in the passage we 
 have cited from " The Comedy of Errors," the Folio prints "whe'r." 
 
ELLIPTICAL STYLE. 295 
 
 If he be perjur'd, see you now, his reputation is as arrant a villain and a jack-sauce, 
 as ever [was the reputation of any villain who with] his plack shoe trod upon Got s 
 ground and his earth. — H. V., iv. 7, 
 
 No way [comparable] to that, for weakness, which she enter'd. — i. H. VI., iii. 2. 
 These are petty faults [compared] to faults unknown. 
 Which time will bring to light in smooth Duke Humphrey. — 2 H. VI., iii. 1. 
 
 Her hand, 
 In whose comparison all whites are ink. 
 
 Writing their own reproach ; [compared] to whose soft seizure 
 The cygnet's down is harsh. — Tr. &■ Cr., i. 1. 
 And in such indexes, although small pricks 
 [Compared] To their subsequent volumes. — Ibid., i. 3. 
 They call him Troilus ; and on him erect 
 
 A second hope, as fairly built as [is their first on] Hector. — Ibid., iv. 5. 
 The most sovereign prescription in Galen is but empiricutic, and, [compared] to this 
 preservative, of no better report than a horse-drench. — Conol., n. i. 
 But with such words that are but roted in 
 Your tongue, though but bastards and syllables 
 Of no allowance, [compared] to your bosom's truth. — Ibid., iii. 2. 
 He no more remembers his mother now than an eight-year old horse [remembers 
 its mare mother]. — Ibid., v. 4. 
 
 These flaws and starts (impostors [as compared] to true fear) would well become 
 a woman's story. — Macb., iii. 4. 
 
 So excellent a king ; that was [compared] to this, 
 Hyperion [compared] to a satyr. — Hamlet, i. 2. 
 The apparition comes : I knew your father ; 
 These hands are not more like [each other, than this apparition was like your 
 father]. — Ibid., i. 2. 
 
 The harlot's cheek, beautied with plastering art, 
 Is not more ugly [compared ] to the thing that helps it, 
 Than is my deed [compared] to my most painted word. — Ibid., iii. i. 
 An eye like [that of*] Mars, to threaten and command ; 
 A station like [that of] the herald Mercury. — Ibid., iii. 4. 
 Your Dane, your German . . . are nothing [compared] to your English. — 0th., ii. 3. 
 His faults, in him, [appear the more evident from contrast with his many excellent 
 qualities, and] seem as the spots of heaven, more fiery by night's blackness. — 
 Ant. &' C, i. 4. 
 
 To be called into a huge sphere, and not to be seen to move in 't, [is as sorry a 
 blank as] are the holes where eyes should be, which pitifully disaster the cheeks. — 
 Ibid., ii. 7. 
 
 Thy mind [compared] to her [noble nature] is now as low as were thy fortunes 
 [in comparison with her rank]. — Cym., iii. 2. , 
 
 [There is] No life [comparable] to ours. — Ibid., iii. 3. 
 One sand another not more resembles [than he does] that sweet rosy lad who died, 
 and was Fidele. — Ibid., v. 5. 
 
 ELLIPTICAL STYLE. 
 
 One of the striking peculiarities of Shakespeare's style is the 
 elliptical mode in which he permits a word or words to be understood 
 in certain sentences ; a practice which not only imparts great suc- 
 cinctness and condensation of effect to his diction, hut which affords 
 
 * See Elliptical Style for several passages where ' that of is understood in the 
 sentence. 
 
2g6 THE SHAKESPEARE KEY. 
 
 that prompt impression which is so greatly the dramatist's object to 
 produce upon his hearers. By here presenting in collective juxta- 
 position, as well as alphabetically, the various passages of ellipsis 
 that occur in his writings, and by grouping together those particular 
 ellipses which afford precisely similar examples of understood words, 
 means are given of comparing certain of his speeches hitherto 
 considered obscure with those which are less so ; thus making the 
 latter an aid to elucidate the former. In citing these various passages, 
 we place between brackets the words that are to be elliptically under- 
 stood in each phrase : — 
 
 Hold [a] little faith, though thou hast too much fear. — T'u;. N., v. i. 
 
 With good advice and [a] httle medicine. — 2 H. IV., iii. i. 
 
 But, as it were, in [a] sort or limitation. — CorioL, ii. i. 
 
 It would not seem too dear [a price to pay] . — All's W., iii. 7. 
 
 That seems [about] to speak things strange. — Macb., i. 2. 
 
 Construe the times, [according] to their necessities. — 2 H. IV., iv. i. 
 
 If I do vow a [n act of] friendship, I '11 perform it. — 0th., iii. 3. 
 
 Became [adopted as] the accents of the valiant. — 2 H. IV., ii. 3. 
 
 [Ah, how] unsafe [is ours] the while, that we must. — Macb., iii. 2. 
 
 Ay that I do ; and [all we Shallows*] have done any time these. — Merry W., i. 1. 
 
 When I have deck'd the sea . . . [and] under my burden groan'd. — Temp., i. 2. 
 
 That make their wills their law, [and] have some unhappy. — Two G. of V., v. 4. 
 
 Lodowick and Gratii, two hundred [and] fifty each. — All's W., iv. 3. 
 
 The year of our redemption four hundred [and] twenty-six. — H. V., i. ^. 
 
 Thy conceit is soaking, [and] will draw in. — W. T., i. 2. 
 
 'Tis good speed ; [and] foretells [that] the great Apollo. — Ibid., ii. 3. 
 
 A sight which was to be seen, [and] cannot be [duly] spoken of. — Ibid., v. 2. 
 
 Eight tall ships, [and] three thousand men of war. — R. II., ii. i. 
 
 Whose soldier now, [and] under whose blessed cross we are. — i H. IV,, i. i. 
 
 IVIust deck our kings, [and] carry them here and there. — H. V., i. (Chorus). 
 
 Jumping o'er times, [and] turning th' accomplishment of. — Ibid., i. (Chorus). 
 
 By that you love the dearest in this world, [and] as you wish. — H. VIII., iii. 2. 
 
 A scourge to her enemies, [and] you have been a rod to. — CorioL, ii. 3. 
 
 Pawn me to this your honour, [and] she is his. — Timon, i. i. 
 
 Treason can but peep to what it would, [and] acts little of his will. — Hamlet, iv. 5. 
 
 Antony sent to her, [and] invited her to supper. — Ant. &■ C, ii. 2. 
 
 Preserv'd the Britons, [and] was the Roman's bane. — Cym., v. 3. 
 
 Are now reviv'd, [and] to the majestic cedar join'd. — Ibid., v. 5. 
 
 Fall away like water from ye, [and are] never found again. — H. VIII., ii. i. 
 
 We '11 be all three sworn brothers [and go] to France. — H. V., ii. i. 
 
 It is no other but the main [an-d obvious cause]. — Hamlet, ii. 2. 
 
 [And to be of] less noble mind than she, which by her death. — Ant. &■ C, iv. 12. 
 
 Can dearly witness, [and who are] yet freshly pitied. — H. VIII., v. 2. 
 
 Were but one danger; and to keep him here [another — ] your certain death. — 
 CorioL, iii-. i^ 
 
 One 's Junius Brutus, [another's] Sicinius Velutus. — Ibid., i. i. 
 
 More exquisite than [any] lady, [than all] ladies, [than all] woman [-kind]. — 
 Cym., iii. 5. 
 
 What earthly name [appended] to interrogatories can. — jfohn, i. iii. 
 
 * This ellipsis is put into the mouth of Justice Shallow for the sake of humorously 
 blundering effect. 
 
ELLIPTICAL STYLE. 297 
 
 Right worthy [are] you [of] priority.— Cono/, i. i. 
 
 King Lear hath lost, he and his daughter [are] ta'en. — Lear, v. 2. 
 
 Whither [are you] bound ? — Cym., iii. 6. 
 
 Bellona's bridegroom, lapp'd in [armour of] proof. — Macb., i. ^. 
 
 Made such a sinner of his memory [as] to credit his own lie. — Temp,, i. 2. 
 
 May serve [as] a nursery to our gentry. — AU's W., i. 2. 
 
 So stain our judgment . . . [as] to prostitute our . . . [as] to esteem a. — Ibid., ii. i. 
 
 I will be so much a sinner [as] to be a double-dealer.— Tw. N., v. i. 
 
 So unsettled [as] to appoint myself in this vexation. — W. T., i. z. 
 
 But [as] it does fulfil my vow, I needs must. — Ibid., iv. 3. 
 
 Do not prove me so ; [as] yet, I am none.— yohn, iv. 3. 
 
 Fool me not so much [as] to [let me] bear it tamely. — Lear, ii. 4. 
 
 Whom hath he left behind him [as] general ? — Ibid., iv. 3. 
 
 But [as] since my landing I have understood. — Per., 1.3. 
 
 Leav'st the kingly couch [as full of disquiet as] a watch-case. — 2 H. IV., iii. 1. 
 
 Were as pretty a proportion [as need be] to live quietly [with], and so give over [our 
 present occupation]. — Per., iv. 3. 
 
 Heaven me such usage send [as that I may] not [have] to pick bad from bad, but 
 [if — I must have bad usage — that I may] by bad [usage] mend ! — 0th., iv. 3. 
 
 With thought of such affections [as then glowed within you] — W. T., v. i. 
 
 I will not say, thou shalt be so well master'd [as thou wert] ; but, be sure, no less 
 belov'd [than thou wert]. — Cym., iv. .s. 
 
 I was too young [at] that time to value her. — As You L., i. 3. 
 
 Ne'er mother rejoic'd [at] deliverance more. — Cym., v. 5. 
 
 How may likeness. [be] made in crimes . . - to draw. — M.for M., iii. i. 
 
 And the owner of it [be] blest. — Hid. N. D., v. 2. 
 
 And yet [be] the son of a woman ! — i H. IV., ii. 4. 
 
 But not [be] remember'd in thy epitaph ! — Ibid., v. 4. 
 
 I cannot put him to [be] a private soldier. — 2 H. IV., iii. 2. 
 
 You see how soon the day [became] o'ercast. — R. III., iii. 2. 
 
 To prepare this body, like to them, to what I must [become]. — Per., i. i. 
 
 But Heaven hath [been] pleas'd to have it so. — Hamlet, iii. 4. 
 
 All places yield to him ere he sits down [before them] . — Coriol., iv. 7. 
 
 Myself in counsel, [being] his competitor.— Ttoo G. of V., ii. 6. 
 
 If fortune thy foe were not, nature [being] thy friend. — Merry W., iii. 3. 
 
 After [being] well-en ter'd soldiers, to return. — Alls W., ii. 1. 
 
 Of [being] here and everywhere. — Tw. N., v. j.. 
 
 Which, [being] of a weak and niggardly projection. — H. V., ii. 4. 
 
 You having lands, and [being] bless'd with beauteous wives. — R. III., v. 3. 
 
 You [being] a brother of us, it fits we thus proceed. — H. VIII., v. i. 
 
 And [being] found — despatch [is the word] — Lear, iii. i. 
 
 [Being] commended to our master, not to us. — Per., i. 3. 
 
 Swear against [being moved by] objects [likely to inspire relenting], — Timon, iv. 3. 
 
 But [being possess'd of] riches fineless is [being] as poor as. — 0th., iii. 3. 
 
 In which your pain [bestow] that way, I '11 this. — Lear, iii. 1. 
 
 [Between] whom [and myself], though in general part we. — Timon, v. 3. 
 
 It is without me, as within me ; not imagin'd, [but] felt.— Cym., iv. 2. 
 
 Counterpoise, [by] a full third part, the charges. — Coriol., v. 5. 
 
 The fame which he did end [by making] all his. — Ibid., v. 5. 
 
 To punish me with [causing] this [man's death], and [to punish] this [man] mth 
 [causing] me [to kill him]. — Hamlet, iii. 4. 
 
 I dare not [come down out of the monument], dear, — Ant. &• C, iv. 13. 
 
2g8 THE SHAKESPEARE KEY. 
 
 She [coming] from whom we all were sea-swallow'd. — Temp., ii. i. 
 
 Took the Phoenix and her fraught [coming] from Candy. — Tui. iV., v. i. 
 
 I must speak with him [coming] from the pridge. — Hen. V., iii- 6. 
 
 Ere [coming to] a determinate resolution. — H. VIII., ii. 4. 
 
 Never, before this happy child, did I get anything [comparable with it]. — Ibid., v. 4. 
 
 Will give you that [death] like beasts, which you shun beastly, and may save 
 [yourselves from] but to look back in frown. — Cym., v. 3. 
 
 Therefore pardon me ; and [do] not impute this yielding to. — R. &• Jul., ii. 2. 
 
 I am not bound to [do] that [which even] all slaves are free to [do or not to do].— 
 Oth., iii. 3. 
 
 If in which time expir'd he [do] not return. — Per., ii. 4. 
 
 Nor [do I] fear to lose it, thy safety being the motive. — Lear, i. 1. 
 
 But mock, [do you] bestow your su'd-for tongues ? — CorioL, ii. 3. 
 
 No more [does] my grief, in such a precious loss. — Tr. & Cr., iv. 4. 
 
 But [doom'd] to be still hot summer's tanlings. — Cym., iv. 4. 
 
 Since we saw [each other] in France. — H. VIII., i. i. 
 
 When shall we see [each other] again ? — Tr. &• Cr., iv. 4. 
 
 When shall we see [each other] again ? — Cym., i. 2. 
 
 You and I have known [each other], sir. — Ant. &■ C, ii. 6. 
 
 [Even] thieves are not judg'd but they are by to hear. — R. II., iv. i. 
 
 Not worshipp'd with [even] a waxen epitaph. — H. V., i. 2. 
 
 Had Henry [even] got an empire by his marriage. — 2 H. VI., i. i. 
 
 [Even] i' the presence he would say untruths. — H. VIII., iv. 2. 
 
 I shall forestall thee, lord Ulysses, [even] thou ! — Tr. &• Cr., iv. 5. 
 
 But that I loved Rome [even] more [than I loved Caesar]. — Jh/. C, iii. 2. 
 
 That might [even] to half a soul and to a notion craz'd. — Macb., iii. i. 
 
 Blood hath been shed ere now [even] i' the olden time. — Ibid., iii. 4. 
 
 [Even] a good and virtuous nature may recoil. — Ibid., iv. 3. 
 
 Their dear causes would . . . excite [even] the mortified man. — Ibid., v. 2. 
 
 For [even] madness would not err. — Hamlet, iii. 4. 
 
 [Even] eyes without feeling, feeling without sight. — Ibid., iii. 4. 
 
 Through tatter'd clothes [even] small vices do appear. — Lear, iv. 6. 
 
 That were the most, [even] if he should husband you. — Ibid., v. 3. 
 
 I never knew [even] a Florentine more kind and honest. — Oth., iii. i. 
 
 Might stick the small'st opinion on [even] my least misuse. — Ibid., iv. 2. 
 
 The honour's sacred . . . [even] supposing that I lack'd it. — Ant. &• C, ii. ^. 
 
 [Even] the seven-fold shield of Ajax cannot keep. — Ibid., iv. 12. 
 
 The temple of Virtue was she; yea, and [even] she herself. — Cym,, v. 5. 
 
 Evil that might annoy [even but so much as] my finger. — H. V., ii. 2. 
 
 Usurpers, tyrants, and what [ever] 's worse [than these]. — As You L., ii. i. 
 
 Here they shall not lie, for [fear of] catching cold. — Two G. of V., i. 2. 
 
 This peace is [fit for] nothing, but to rust iron. — CorioL, iv. 5. 
 
 [For] me, poor man, my library was dukedom large enough. — Temp., i 2. 
 
 [For] whose thankless natures . . . not all the whips. — Timon, v. i. 
 
 More than I could frame employment [for]. — Ibid., iv. 3. 
 
 The cardinal instantly will find employment [for]. — H. VIII.. ii. i. 
 
 What restraint and grievance the law . . . will give him cable [for]. — Oth., i. i. 
 
 As I will kneel to him with thanks [for]. — Ant. &• C, v. .i. 
 
 Had that was well worth watching [for]. — Cym., ii. 4. 
 
 This point [for] which now you censure him. — M.for M., ii. i. 
 
 Fear you his tyrannous passion more, alas, than [for] the queen's life ? — W. T., ii. 3. 
 
 And beg [for] thy pardon ere he do accuse thee. — R. II., v. 2. 
 
ELLIPTICAL STYLE. 299 
 
 If any fear lesser [for] his person than [he fears] an ill report. — Coriol., i. 6. 
 
 What doth her beauty serve [for], but as a note. — R. &• yul., i. i. 
 
 And touch thy instrument [for] a strain or two. — yul. C, iv. 3. 
 
 Do not fear [for] our person : there's such divinity doth. — Hamlet, iv. 5. 
 
 She wish'd that Heaven had made [for] her such a man. — 0th., i. 3. 
 
 He hath been search'd [for] among the dead and living. — Cym., v. 5. 
 
 Novir, [for an explanation of] what mov'd me to 't, I will. — H. VIII., ii. 4. 
 
 [For the sake] of charity, what kin are you to me ? — Tw. N., v. 1. 
 
 Than you shall find cause [for them] in Csesar. — Ant. <&• C, v. 2. 
 
 To sweep the dust [from] behind the door. — Mid. N. D., v. 2. 
 
 I 'd [go] with thee every foot [of the way]. —Coriol., iv. i. 
 
 [Go and inquire] again ; and bring me word how 'tis with her. — Cym., iv. 3. 
 
 As if that [god], whatsoever god [he may be], who leads him. — Coriol., ii. i; 
 
 Towards Florence is he [gone] ? — All's W., iii. 2. 
 
 All [good wishes] to you. — Timon, i. 2. 
 
 He was expected then, but [had] not [yet] approach'd. — Cym., iii. 4. 
 
 My education [has] been in arts and arms. — Per., ii. 3. 
 
 Sorrow would [have] solace, and mine age would [have] rest. — 2 H. VI., ii. 3. 
 
 And flies [have] fled under shade. — Tr. &• Cr., i. 3. 
 
 We should by this . . . [have] found it so. — Coriol., iv. 6. 
 
 [He] bequeathed me by will . . . and, as thou sayest, [he] charged my brother, on 
 his blessing, to breed me well. — As You L., i. i. 
 
 [He] whose hap shall be to have her will not. — Tarn, of S., i. 2. 
 
 They call him Doricles ; and [he] boasts himself to have. — W. T., iv. 3. 
 
 And [he] vaulted with such ease into his seat. — i H. IV., iv. i. 
 
 How does the king ? — Madam, [he] sleeps still. — Lear, iv. 7. 
 
 And [he] will, no doubt, be found. — Cym., iv. 3. 
 
 [He is] my lord of Kent : remember him hereafter. — Lear, i. i. 
 
 [He is ever] ready for his friends. — Timon, i. 2. 
 
 Her hedges [heretofore] even-pleach'd, like prisoners. — H. V., v. 2. 
 
 And now our [heretofore] cowards . . . became the life o' the need. — Cym., v. 3. 
 
 To have them recompens'd as [highly as they are] thought on. — W. T., iv. 3. 
 
 Daring [himself as] an opposite to every danger. — R. III., v. 4. 
 
 To repair [hither] some other hour, I should derive. — Timon, iii. 4. 
 
 Derived from the ancient [house of] Capulet. — All's W., v. 3. 
 
 [How] grace [ought] to stand, and [how] virtue [ought to] go. — M.for M., iii. 2. 
 
 Ay, Timon, and [I] have cause. — Timon, iv. 3. 
 
 Make the wars against my stomach, [I] having alike your cause ? — Ant. <&• C, ii. 2. 
 
 And [I] do invite you to my sister's view. — Ibid., ii. 2. 
 
 Not any ; but [I] abide the change of time. — Cym., ii. 4. 
 
 Bless'd [I] pray [that] you [may] be. — Ibid., v. 5. 
 
 [I] being down, [he] insulted, railed, and put. — Lear, ii. 2. 
 
 [I] having more man than wit about me, drew. — Ibid., ii. 4. 
 
 [I] who with half the bulk o' the viforld play'd as I pleas'd. — Ant. &■ C, iii. g. 
 
 [I am] gone, sir : farewell. — Lear, iv. 6. 
 
 [I am] a gentleman of Tyre, my name [is] Pericles. — Per., ii. 3. 
 
 Now, [I care for] no discourse, except it be of love. — Two G. of V., ii. 4. 
 
 My lord, [I drink to you] in [all the truth of my] heart. — Timon, i. z. 
 
 [I had] best draw my sword. — Cym., iii. 6. 
 
 Even [I might call thee] daughter, [for] welcome [art thou] in no less degree [than 
 a daughter]. — As You L., v. 4. 
 
300 THE SHAKESPEARE KEY. 
 
 Or [I must practise] this [deceit upon him], or [I must] perish [by his fury]. — 
 Cyin., iii. 5. 
 
 I know not why, nor wherefore [I should feel impelled] to say, live, boy. — Ibid., v. 5. 
 
 As [if] the year had found some months asleep. — 2 H. IV., iv. 4. 
 
 As [if ] they had seen me with these hangman's hands. — Macb., ii. 2. 
 
 As [if] some fly had tickl'd slumber, not as [if it were] death's dart.— Cym., iv. 2. 
 
 'Tis as [it] I should entreat you [to] wear your gloves. — 0th., iii. 3. 
 
 [Il] within thine eyes sat twenty thousand deaths. — CorioL, iii. 3. 
 
 Youth becomes as [if it were] aged. — M.for M., iii. i. 
 
 [If there should] come more, for more you're ready. — Cym., iv. 3. 
 
 But, [if thou] be refus'd, let the white death sit. — All's W., ii. 3. 
 
 As [if to] bid me tell my tale in express words. — fohn, iv. 2. 
 
 Norfolk, [in] so far as [it is] to mine enemy [that I swear, I too will keep all this]. — 
 R. II., i. 3. 
 
 Unless [in] his noble mother and his wife. — CorioL, v. 1. 
 
 And [in addition] to that dauntless temper of his. — Macb., iii. i. 
 
 [In proof] that Norfolk lies, here do I throw down this. — R. II., iv. i. 
 
 I will do [in proportion to] my good will, sir. — 2 H. IV., iii. 2. 
 
 Since you came too late [in respect] of our intent. — R. III., iii. 5. 
 
 I am not [in truth] what I am [in appearance]. — 0th., i. i. 
 
 And rear it in the place [in which] your father's stands. — 3 H. VI., ii. 6. 
 
 Turning dispiteous [intention to] torture out of door. — John, iv. i. 
 
 Contenteth me, and [is] worth a monarchy. — 2 H. VI., iv. 10. 
 
 The which to leave [is] a thousand-fold more bitter than. — H. VIII., ii. 3. 
 
 [Is] all come to this ? The hearts that spaniel'd me. — Ant. &■ C, iv. 10. 
 
 The falcon [is as good] as the tercel. — Tr. &■ Cr., iii. 2. 
 
 Why, then, [is it that] your fears . . . should move you to. — John, iv. ^. 
 
 To love [it] concerneth us to add her father's liking. — Tarn of S„ iii. r. 
 
 Were [it] I alone [who had] to pass [through] the difficulties. — Tr. &• Cr., ii. 2. 
 
 For him [it] shall fly out of itself. — CorioL, i. 10. 
 
 Tell me in sadness, who is [it] that you love ? — R. &• Jul., i. i. 
 
 But [it] flies an eagle flight. — Tin.on, i. i. 
 
 I 'd exchange [it] for this one wish. — Ibid., iv. 3. 
 
 Like a bold flood o'erbear [it]. — CorioL, iv. 5. 
 
 That nothing can allay [it]. — John, iii. i. 
 
 [It] shall not be long but I '11 be here again. — Macb., iv. 2. 
 
 As [it is] in the [estimation of the] prizer. — Tr. &• Cr., ii. 2. 
 
 But [it is requisite] to support him after. — Timon, i. i. 
 
 The element itself, till [it shall have known] seven years' heat. — Tw. N., i. t. 
 
 Take them away: [keep] good guard, until their. — Lear, v. 3. 
 
 [Let] those enemies of Timon's . . . fall, and ho more.— Timon, v. 5. 
 
 Which [let it be] often [repeated]. — CorioL, iii. 2. 
 
 [Let me] to the trunk again, and shut the spring of it. — Cym.. ii. 2. 
 
 But [let me remember] my design, to note the chamber. — Ibid., ii. 2. 
 
 Which [letter, he] failing [to have], periods his comfort. — Timon, i. 1. 
 
 Else, surely, his [loan] had equall'd [your master's loan]. — Ibid., iii. 4. 
 
 And [make him] write to her a love-line. — All's W., ii. i. 
 
 For one to say a soldier lies, is stabbing [matter]. — 0th., iii. 4. 
 
 When we hold rumour from what we fear [may threaten us], yet know not what we 
 [ought justly to] fear. — Macb., iv. 2. 
 
 My mind misgives [me] some consequence, yet hanging. — R. &> Jul., i. 4. 
 
 Fetch me the handkerchief: my mind misgives [me].— OtA., iii. 4. 
 
ELLIPTICAL STYLE. 3°! 
 
 That I might do you service, so good as you have done [me]. — Ant. &• C, iv. 2. 
 
 Unarm [me], Eros; the long day's task is done. — Ibid., iv. 12. 
 
 By reflection, by [means of] some other things [than itself]. — ^ul. C, i. -.i. 
 
 The king enacts more wonders than a [mere mortal] man [could be expected to 
 perform]. — R. III., v. 4. 
 
 I profess myself her adorer, not [merely] her friend. — Cym., i. 5. 
 
 So much fairer and [more] spotless shall mine innocence appear. — H. VIII., lii. 2. 
 
 The enemies of Csesar shall say this [much.] — yid. C, iii. i. 
 
 In despite of [my disinclination for] mirth, [I] mean to be merry. — Com. o/E., iii. i. 
 
 Not [needing] to know what we speak one to another. — All's W., iv. i. 
 
 So his familiars to his [now] buried fortunes slink all away [from him]. — 
 Timon, iv. 2. 
 
 [0] that [there] may blow no sneaping winds at home. — W. T., i. 2. 
 
 The ways you have for [obtaining] dignities. — H. VIII., iii- 2. 
 
 Who wins me by that means I told you [of ].— Afej-. of V., ii. i. 
 
 The great'st infection that e'er was heard or read [of]. — W. T., i. 2. 
 
 [Of] what an honest man should have, he has nothing. — All's W., iv. 3. 
 
 And I did never ask it [of] you again. — John, iv. i. 
 
 We, at the height [of our advantage], are ready to decline. — Jul. C, iv. 3. 
 
 As not to know the language [of the land] I have liv'd in. — H. VIII., iii. 1. 
 
 Execution of the rest [of the offices pertaining to a king]. — Lear, i. i. 
 
 You 're a gentleman of mine own way [of thinking in religious opinion]. — 
 H. VIII., V. I. 
 
 Some haunted by the ghosts [of those whom] they have depos'd. — R. II., iii. 2. 
 
 Those occasions [of which] at Eltham Place I told your majesty. — i H. VI., iii. i. 
 
 I bid for you [offering my liking in exchange for yours], as I do buy [by paying 
 money in exchange for what I purchase]. — Cym., iii. 6. 
 
 To die upon the bed my father died [on]. — W. T., iv. 3. 
 
 As well appeareth by the cause you come [on]. — R. II., i. i. 
 
 To be exalted [on a level] with the threatening clouds. — Jul. C, i. 3. 
 
 Not [only] what is dangerous present, but the loss of. — Coriol., iii. 2. 
 
 And not [only] your knowledge [and] your personal pain. — Per., iii. 2. 
 
 Tybalt, that [only] an hour hath been my kinsman. — R. &• Jul., iii. i. 
 
 To-morrow with your earliest [opportunity] let me have speech with you 
 
 0th., ii. 3. 
 
 Let us address [ourselves] to tend'on Hector's heels. — Tr. &• Cr., iv. 4. 
 
 If savage, take [payment for what I need] or lend [it me from kindliness]. 
 
 Cym., iii. 6. 
 
 On [peril of incurring the] height of our displeasure. — Timon, iii. 5, 
 
 There be [persons], an if they might [divulge]. — Hamlet, i. 5. 
 
 There's something in't [persuades me], more than . . . that his. — All's W., i. 3. 
 
 Avoid your accusation : [pretending that] he made trial of you. — M.for M., iii. 1. 
 
 For this [recrimination] is [apart] from the present [consideration]. — Ant. &• C. ii. 6. 
 
 Who haply may misconstrue us in [regard to] him. — R. III., iii. 5. 
 
 I am [representing], in this [appeal], your wife. — Coriol., iii. 2. 
 
 Which [risk] to defeat, I must produce my power. — All's W., ii. 3. 
 
 But for the [sake of] the general [community]. — Jul. C, ii. i. 
 
 We could, an if we would [say]. — Hamlet, i. 5. 
 
 She shall not sue unheard. So [say] to them both. — Ant. &• C, iii. 10. 
 
 Our fears do make us [seem] traitors. — Macb., iv. 2. 
 
 And lack gall to make oppression [seem] bitter [to me] . — Hamlet, ii. 2. 
 
 Make your wantonness [seem] your ignorance. — Ibid., iii. i. 
 
302 THE SHAKESPEARE KEY. 
 
 Did make my way [seem] long [when I went] forth. — Cyin., iv. .i. 
 
 To-morrow, they made Britain [seem like]' India. — H. VIII., i. x. 
 
 Most like I did, for I was [seemingly] dead. — Cym., v. 5. 
 
 Yet all this while [she was] in a most fast sleep. — Macb., v. i. 
 
 The better that your lordship [should] please to ask. — R. III., iii. is. 
 
 As faults [should be] from seeming, free! — M.forM., iii. 2. 
 
 That your fair daughter . . . [should be] transported ... to the gross. — Ofh., i. i. 
 
 When our actions do not [show us to be traitors]. — Macb., iv. 2. 
 
 Nor shall appear [so] in Sicilia. — W. T., iv. 3. * 
 
 Do not [so] stain the even virtue of our enterprise . . . [as] to think* that or our 
 cause or our performance. — jfitl. C, ii. 1. 
 
 So much differ, and we [still] alive that liv'd [then] ? — Timoii, iii. i. 
 
 Rather than [such as betoken] envy [towards] you. — CorioL, iii. 3. 
 
 No time shall be omitted that will be [sufficient] time. — Love's L. L., iv. 3. 
 
 [Supposing] he says he'll come ; how shall I feast him ? — Tio. N., iii. 4. 
 
 Where is thy lady ? [tell me] in a word, or else. — Cym., iii. 5. 
 
 One sand another not more resembles [than he does] that sweet rosy lad who 
 died. — Ibid., \. 5. 
 
 And a soul [than which there is] none better in my kingdom. — H. VIII., v. i. 
 
 Morn to the lark, less welcome [than you are to us]. — Cym., iii. 6. 
 
 If thou engrossest all the griefs [that] are thine. — All's W., iii. i. 
 
 Good Heaven ! [that] these nobles should such stomachs bear. — i H. VI., i. 3. 
 
 Direct mine arms [that] I may embrace his neck. — Ibid., ii. 5. 
 
 Or I fall into the trap [that] is laid for me. — H. VIII., v. i. 
 
 This morning see [that] you do appear before them. — Ibid., v. 1. 
 
 My mind gave me [that] in seeking tales and informations. — Ibid., v. 2. 
 
 [That] heaven ever laid up to make parents happy. — Ibid., v. 4. 
 
 He [that] last ask'd the question. — Tinion, ii. 2. 
 
 What should I do, [that] I do not? — Ant. &• C, i. 3. 
 
 The preparation of a war [that] shall stain [that of] your brother. — Ibid., iii. 4. 
 
 To you ... he commands [that] his absolute commission [shall be given]. — 
 Cym., iii. 7. 
 
 An issue I might propagate [that] are arms to princes. — Per., i. 2. 
 
 Scorn now [that] their hand should give them burial. — Ibid., ii. 4. 
 
 Ay, for [that half which comes to] the state — not for [that half which comes to] 
 Antonio. — Mcr. of V., iv. i. • 
 
 [That he] hath commanded to-morrow morning to the. — H. VIII., v. i. 
 
 And [that I] do now not basely die, not cowardly. — Ant. <&■ C, iv. 13. 
 
 In a word, [that I might be] but even now worth this. — Mcr. of V., i. i. 
 
 When thou canst get the ring [that is] upon my finger. — All's W,, iii. 2. 
 
 [That is your] question : [now comes my answer] why an hour. — M. Ado, v. 2. 
 
 Black and fearful on [that of] the opposer. — All's W., iii. i. 
 
 A sense as cold as is [that of] a dead man's nose. — W. T., ii. 1. 
 
 A name so slight ... as [that of] the Pope. — John, iii. i. 
 
 Than I am made by [that of] my young lord and [by] thee. — R. III., i. 2. 
 
 The loss you have is but [that of] a son being king. — Ibid., iv. 4. 
 
 She praised his complexion above [that of] Paris. — Tr. &■ Cr., i. 2. 
 
 The sound of Marcius' tongue from [that of] every meaner man ['s] . — Coriol., i. 6. 
 
 Your master's confidence was above [that of] mine. — Timon, iii. 4. 
 
 He forfeits his own blood that spills [that of] another. — Ibid., iii. 5. 
 
 * This phrase may be thus elliptically constructed ; or " to think " may be used for 
 ' by thinking.' 
 
ELLIPTICAL STYLE. 303 
 
 With my two daughters' dowers digest [that of J the third. — Lear, i. i. 
 
 On the life of Lear, and on [that of] Cordelia. — Ibid., v. 3. 
 
 The office opposite to [that of] Saint Peter. — Oih., iv. 2. 
 
 His soldiership is twice .[that of] the other twain. — Ant. &■ C, ii. i. 
 
 And be her sense hut as [that of] a monument. — Cym., ii. 2. 
 
 A power [that proved to be] much smaller than the. — 2 H. IV., i. 3. 
 
 Saw you anything more [that was] wonderful ? — jul. C, i. 3. 
 
 [That was in] my salad days . . . ['twas to be] cold in judgment. — Ant. &• C, i. 5. 
 
 [That you are] sent by the king your father to greet him. — W. T., iv. 3. 
 
 'Tis [the] love I bear thy glories [that] makes me speak. — 3 H. VI., ii. i. 
 
 Holy oil, Edward [the] Confessor's crown. — H. VIII., iv. i. 
 
 [The] reason [is], because they then less need one another. — CorioL, iv. 5. 
 
 Not that I loved Caesar [the] less [though I killed him]. — yul. C, iii. 2. 
 
 [The] Graces [are] her subjects, and her thoughts [are] the king of evei-y virtue 
 [that] gives renown to men ! — Per., i. 1. 
 
 The moist star . . . was sick almost to [the condition in which it will be at] Doomsday 
 with eclipse. — Hamlet, i. i. 
 
 [The conviction of] thy truth and integrity is rooted in us. — H. VIII., v. 1. 
 
 You undergo [the difficulty of proving] too strict a paradox. — Timon, iii. 5. 
 
 In speaking, not to incur [the imputation of] the last. — R. III., iii. 7. 
 
 For [the murder of] this same lord, I do repent. — Hamlet, iii. 4. 
 
 At [the price of] a few drops of women's rheum. — CorioL, v. 5. 
 
 Have [the right to deliver] their free voices: [and] Rome. — H. VIII., ii. z. 
 
 As here by [the side of] Csesar, and by you [to be] cut off. — yul. C, iii. i. 
 
 This is [the summons] to [betake ourselves to our] horse. — Ant. &• C, iii. z. 
 
 Unless you call [the width of] three fingers [in fat] on the ribs bare. — i H. IV., iv. 3. 
 
 Or, timely knowing [them], the remedy is then born. — Cym., i. 7. 
 
 Because [then] she will not be annoy'd with suitors. — Tam. of S., i. i. 
 
 And [there] wants [now nothing] but nomination. — R. III., iii. 4. 
 
 Meanwhile [there] must be an earnest motion made. — H. VIII., ii. 4. 
 
 In sweet music [there] is such art. — Ibid., iii. r [Song). 
 
 [There] remains that, in th' official marks invested, you. — CorioL, ii. 3. 
 
 In cities [there are] mutinies ; in countries [there is] discord ; in palaces [there is] 
 treason ; and the bond [is] cracked. — Lear, i. 2. 
 
 To this hour [there is] no guess in knowledge which way they went. — Cym., i. i. 
 
 Hold, [there is] my hand: be factious for redress. — Jul. C, i. 3. 
 
 Like our strange garments, [they] cleave not to their mould. — Macb., i. 3. 
 
 I may not be too forward, lest, [this] being seen, thy brother. — R. III., v. 3. 
 
 Go on : [this is] right royal. — Ant. &• C, iii. 11. 
 
 Thou wast the cause, and [this was thy] most accurs'd effect. — R. III., i. 2. 
 
 There be [those] that can rule Naples as well as he that sleeps. — Temp., ii. i. 
 
 [Those] who were below him he us'd as creatures. — All's W., i. 2. 
 
 There are [those] that dare ; and I myself have ventur'd. — H. VIII., v. i. 
 
 [Thou] shalt see, thy other daughter will use thee kindly. — Lear, i. g. 
 
 And, [through] Jove's accord, [there is] nothing so full of heart [as they are]. — 
 Tr. &■ Cr., i. 3. 
 
 Must intimate [thy possession of] skill infinite, or [thy being] monstrous desperate. 
 —AlVs W., ii. 1. 
 
 And [' tis] held for certain the king will venture. — H. VIII., ii. i. 
 
 You '11 find ['tis] a most unfit time to disturb him. — Ibid., ii. 2. 
 
 And ['tis] not wholesome to our cause. — Ibid., iii. z. 
 
 And ['tis] fear'd she 'U with the labour end. — Ibid, v, x. 
 
304 THE SHAKESPEARE KEY. 
 
 And ['tis] not ever [that] the justice and the truth. — H. VIII., v. i. 
 
 I know this cannot be. — ['Tis] not possible. — Coriol., iv. 6. 
 
 ['Tis] fit I [should go to] meet them. — Timon, v. i. 
 
 Yet ['tis] better [to be] thus, and [by myself] known to be contemn'd. — Lear, iv. i. 
 
 ['Tis] riotous madness, to be entangled with. — Ant. &• C, i. 3. 
 
 ['Tis] a fever with the absence of her son. — Cym., iv. 3. 
 
 For, ['tis a chance great as the stake of] heaven to earth. — i H. IV., v. 2. 
 
 Dar'st with thy . . . [to] make pale our cheek. — R. II., ii. i. 
 
 Wish'd him on the barren mountains [to] starve. — i H. IV., i. 3. 
 
 Is that letter, I caus'd you [to] write, yet sent away? — H. VIII., iv. ^. 
 
 And struck him on [to] his knee. — Coriol., ii. 2. 
 
 The prince will doom thee [to] death, if thou art taken. — R. &■ yuL, in. i. 
 
 Listening [to] their fear, I could not say amen. — Macb., ii. 2. 
 
 [To] which . . . this sword of mine shall give them instant way. — Lear, v. 3. 
 
 Go, charge Agrippa [to] plant those that have revolted. — Ant. &• C, iv. 6. 
 
 But not the form of what he should attend [to]. — i H. IV., i. 3. 
 
 And the very ports they blow [to]. — Macb,, i. 3. 
 
 All lovers swear more performance than they are able [to achieve]. — Tr. &> Cr., iii. 2. 
 
 Have not transformed him [to an] ape. — 2 H. IV., ii. 2. 
 
 Until I know this [to be] sure uncertainty. — Com. 0/ E., ii. ^. 
 
 Would suffer her poor knight [to be] surprised. — All's W., i. 3. 
 
 I take these wise men ... [to be] no better than the. — Tw. N., i. 5. 
 
 That slander, sir, is found [to be] a truth now. — H. VIII., ii. i. 
 
 I know my life [to be] so even.— 76/d., iii. i. 
 
 I know you [to be] wise, religious. — Ibid., v. i. 
 
 Where thou hast feign'd him [to be] a worthy fellow. — Timon, i. i. 
 
 Men's reports give him [to be] much wrong'd. — Ant. &• C, i. 4. 
 
 Must seem [to be the result of] deliberate pause. — Hamlet, iv. 3 . 
 
 'Tis [to deserve] to be chid as we rate boys. — Ant. &• C, i. 4. 
 
 Which should perceive nothing but love from us [to each other].— ^ul. C, iv. 2. 
 
 As [to those of] infants [which are] empty of all thought. — Tr. 6" Or., iv. 2. 
 
 May be wrought from that [to which] it is dispos'd. — jful. C, i. 2. 
 
 Did you assay [to win] him to any pastime ? — Hamlet, iii. i. 
 
 Doth seem [to wish] to have thee crown'd withal. — Macb., i. 5. 
 
 Why, either were you [too] ignorant to see't, or, seeing it. — Coriol., ii. 3. 
 
 As well appeareth by the cause you come [upon]. — R. II., i. i. 
 
 Oh, that I had him . . . to use my lawful sword [upon], — Coriol., v. 5. 
 
 These deeds must not be thought [upon] after these ways. — Macb., ii. 2. 
 
 That, if you fail [us] in our request, the blame may. — Coriol., v. 3. 
 
 Fear'd gods, [vouchsafe me] a part of it ! — Cym., iv. 2. 
 
 I have no farther [want] with you. — Coriol., ii. 3. 
 
 May complain of [want of] good breeding. — As You L., iii. 2. 
 
 Am starv'd for [want of] meat, giddy for lack of sleep. — Tarn, of S., iv. 3. 
 
 Who are sick for [want of] breathing and exploit. — All's \V., i. 2. 
 
 Which then our [want of] leisure would not let us hear. — R. II., i. 1. 
 
 Out of work and cold for [want ot] action. — H. V., i. 2. 
 
 The [want of] leisure and the fearful time cuts off. — R. III., v. 3. 
 
 The [want of] leisure and enforcement of the time. — Ibid., v. 3. 
 
 Fear not our [want of] care, sir. — Coriol., i. 7. 
 
 If you suspect my [want of] husbandry or [my] falsehood. — Timon, ii. 2. 
 
 Who, almost dead for [want of] breath. — Macb., i. 5. 
 
ELLIPTICAL STYLE. 305 
 
 I was at point to sink for [want of] food. — Cym., iii. 6. 
 
 'Gainst whose shore [we] riding, her fortunes. — Per., v. 3. 
 
 And, as [well as] you can, disliken the truth of. — W. T., iv. 3. 
 
 I would my horse had the speed of your tongue, and [were] so good. — M. Ado, i. i. 
 
 I feel [what] my master's passion [will be] ! — Timon, iii. i. 
 
 [What] say you, sir? — Cym., iv. ii. 
 
 At many leisures [when] I propos'd [to do so]. — Timon, ii. -.i. 
 
 At many times [when] I brought in my accounts [and] laid. — Ibid., ii. 2. 
 
 Yet now's a time, [when] the greatest of your having lacks a half. — Ibid., ;i. 2. 
 
 True ornament [whereby] to know a holy man. — R. III., iii. 7. 
 
 Seeks not to find that [which] her search implies. — All's W., i. 3. 
 
 The reason [which] mov'd these warlike lords to this. — i H. VI., ii. 5. 
 
 These our ships, [which] you happily may think are. — Per., i. 4. 
 
 That all those eyes [which] ador'd them ere their fall. — Ibid., ii. 4. 
 
 This ornament, [which] makes me look dismal.- Ibid., iv. 3. 
 
 I am nothing slow [which, if I were, might tend] to slack his haste. — R. &• Jul., iv. i. 
 
 The imposition clear'd, [which is] hereditary ours. — W. T., i. 2. 
 
 Strain'd from that fair use [which is natural to it]. — R. <&> y«/., ii. 3. 
 
 Those only have fear'd Cassar [while seeming attach'd to him]. — Ant. &• C '.. 3. 
 
 She lov'd me well [who] deliver'd it to me. — Two G. of V., iv. 4. 
 
 [Who] has a most weak/io mater. — Tw. N., i. 5. 
 
 [Who] have sold their fortunes at their native homes. — John, ii. i. 
 
 The hate of those [who] love not the king. — R. II., ii. 2. 
 
 And join'st with them [who] will be thy slaughter-men. — i H. VI., iii. 3. 
 
 Happy; and so are all [who] are near her. — H. VIII., iv. i. 
 
 Cranmer will find a friend [who] will not shrink from him. — Ibid., iv. 1. 
 
 Those men [who] blush not in actions blacker than. — Per., i. i. 
 
 Those [who own] that [they] would mischief me [if they could] than those that do 
 [injure me while professing friendship]. — Timon, iv. 3. 
 
 That father [who was] lost, lost his. — Hamlet, i. 2. 
 
 Declare the cause [why] my father. — i H. VI., ii. 5. 
 
 My residence in Rome [will be] at one Philario's. — Cym., i. 2. 
 
 Much more, and [with] much more cause. — H. V., v. (Chorus). 
 
 Let us once again assail your ears . . . [with] what we. — Hamlet, i. 1. 
 
 And what mighty magic ... I won his daughter [with].— Of/j., i. 3. 
 
 I can be able to front this present time [with] . — A nt. &• C, i. 4. 
 
 Are partners [with him] in the business. — Cym., i. 7. 
 
 This creature's no such [wonderful] thing. — Ant. &• C, iii. 3. 
 
 Return them [word, that] we are ready. — Per., ii. 2. 
 
 Our scouts have found the adventure [would be] very easy. — 3 H. VI., iv. 2. 
 
 He [would have] waved indifferently 'twixt doing. — Coriol., ii. 2. 
 
 Makes her as she [would have looked had she] liv'd now. — W. T., v. 3. 
 
 Which he said was precious and [would prove] cordial to me. — Cym., iv. 2. 
 
 Let 's go see poor Cassio ['s wound] dress'd. — 0th., v. i. 
 
 And [yet] you will rather show our general louts. — Coriol., iii. i. 
 
 Tempt him not so too far; I wish [)'0u would] forbear. — Ant. &• C, i. 3. 
 
 To satisfy [your just wrath] . . . take no stricter render of me than my all.— 
 Cym., v. 4. 
 
 He often allows a word in one part of a sentence to be ellipticallj' 
 
3o6 THE SHAKESPEARE KEY. 
 
 understood as repeated in another part of the same sentence, or even in 
 another part of the same dialogue : — 
 
 We must receive him according to the honour of his sender ; and towards himself, 
 [according to] his goodness forespent on us, we must extend our notice. — Cym., ii. 3. 
 You advise me well.— I protest [I advise you], in the sincerity. — Otlt., ii. 3. 
 And, when we fall, we answer others' merits in our name, [and] are therefore to be 
 pitied. — Ant. &• C, v. 2. 
 
 And crickets sing at the oven's mouth, [and] are the blither for their drouth. — 
 Per., iii. (Gowcr). 
 
 Thoughts arc no subjects; intents [are] but merely thoughts. — M.for M., v. i. 
 They are taught their manage, and to that end riders [ai-c] dearly hired.— /Is 
 You L., i. 1. 
 
 Where are now your fortunes ! Shipwreck'd upon a kingdom, where [are] no pity, 
 no friends, no hope; [where'] no kindred weep for me. — H. VIII., iii. 1. 
 
 They are actions that a man might play : but I have that within which passeth 
 show ; these [are] but. — Hamlet, i. 2. 
 
 But [flsl justly as you have exceeded all promise. — As You L., i. 2. 
 Man's life is [as] cheap as beast's. — Lear, ii. 4. 
 
 I hold you but [as] a subject of this war, not as a brother. — Ibid., v. 3. 
 Not for such an end [as] thou seek'st as base as strange. — Cym., i. 7. 
 Which are [as] often the sadness of parting, as the procuring. — Ibid., v. 4. 
 Love goes toward love, as schoolboys [go] from their books; but love from love, 
 [as schoolboys go] toward school with. — R. &• y«l., ii. z. 
 
 Against mine honour aught, my bond to wedlock, or my love and duty, [aught] 
 against your sacred person. — H. VIII., ii. 4. 
 
 What he might be — if, what he might [be], he is not. — 0th., iv. i. 
 Either be gone before the watch be set, or [be gone] by the break of day. — R. &• Jul., 
 iii. 3. 
 
 Do you know, and dare not be intelligent to me ? 'Tis thereabouts ; for, to yourself, 
 what you do know, you must [be intelligent]. — W. T., i. 2. 
 
 Or by pronouncing of some doubtful phrase ... or [by] such ambiguous giving 
 out, to note that you know. — Hamlet, i. 5. 
 
 Your colt's tooth is not cast yet. — No, my lord ; nor shall not [be cast yet], while I 
 have a stump. — H. VIII., i. 3. 
 
 A merrier day did never yet greet Rome, no not the [day of the] expulsion of the 
 Tarquins. — Coriol., v. 4. 
 Should be depos'd; and, being [depos'd], that we detain. — Ant. &• C, iii. 6. 
 You do not understand yourself so clearly as it behoves my daughter and your 
 honour [to do]. — Hamlet, i. 3. 
 
 What they do delay, they [do] not deny. — Ant. &• C, ii. i. 
 Rights by rights fouler [do fail] strengths by strengths do fail. — Coriol., iv. 7. 
 One fire drives out one fire ; one nail [drives out] one nail. — Ibid., iv. 7. 
 As fire drives out fire, so pity [drives out] pity. — yul. C, iii. i. 
 
 May you a better feast never behold. . . . This is Tim.on's last [feast]. — 
 Timon, iii. 6. 
 
 Not nature, to whom all sores lay siege, can bear great fortune, but by contempt of 
 nature. Raise me this beggar [to fortune], and deny 't that lord. — Ibid., iv. 3. 
 And I havefound Demetrius like a [found] jewel. — Hid. A'. D., iv. 1. 
 As lying a gossip in that as [any gossip who] ever knapped ginger. — Mcr. of I'., iii. 1 . 
 The worm, that 's fled, hath nature that in time will venom breed, [but hath] no 
 teeth for the present. — Macb., iii. 4. 
 
 I have dined with him, and told him on 't ; and [have] come again to supper to 
 him. — Timon, iii. i. 
 
ELLIPTICAL STYLE. 307 
 
 And have an hour of hearing ; and, by 'r lady, [have it] held current music too. — 
 H. VIIL, i. 3. 
 
 He will not hear, till [he'] feel. — Timon, ii. 2. 
 
 For that he has . . . envied against the people ... as now at last [he has] given 
 hostile strokes. — CorioL, iii. 3. 
 
 He was then of a crescent note; [he was] expected to prove. — Cym., i. 5. 
 
 He will betray us all unto ourselves: [he will] inform on that. — All's W., iv. i. 
 , I '11 willingly to him ; to gain [him] his colour. — Cym., iv. 2. 
 
 I love him not, nor hate him not ; and yet [I] have more cause. — As You L., iii. 5. 
 
 I am yet unknown to woman ; [I] never was forsworn ; [/] scarcely have coveted 
 what was mine own ; at no time [have I] broke my faith ; [I] would not betray the 
 devil to his fellow; and [/] delight no less in. — Macb., iv. 3. 
 
 Have I, my lord ? [I] assure you, my good liege. — Hamlet, ii. 2. 
 
 I had my father's signet in my purse. ...[/] folded the writ up in form of the 
 other ; [I] subscrib'd it ; [/] gave 't the impression ; [and I] plac'd it safely. — 
 Ibid., V. 2. 
 
 While I to this 'hard house . . which even but now, [I] demanding after you, 
 denied me to come in. — Lear, iii. 2. 
 
 I see it in my motion, [/] have it not in my tongue. — Anf. &• C, ii. 3. 
 
 I am not made of stone, but [I am] penetrable to your kind entreaties. — 
 R. III., iii. 7. 
 
 I am joyful to hear of their readiness . . .-and [7 am] most glad of your company. 
 — CorioL, iv. 3. 
 
 / bleed, sir ; but [I am] not kill'd. — / am not sorry neither. — 0th., v. 2, 
 
 Art thou proud yet ? Ay, [I am proud] that / am not thee. — I [am proud] that I 
 was no prodigal. — I [am proud], that I am one now. — Timon, iv. 3. 
 
 / am sorry to see you ta'en from liberty, [and I am sorry] to look on the business 
 present. — H. VIII., i. i. 
 
 I would not prize them v^^ithout her love ; for her [/ wotild] employ them all. — 
 W. T., iv. 3. 
 
 If my actions were tried by every tongue, [if] every eye saw them, [if] envy and 
 base opinion [were] set against them. — H, VIII., iii. i. 
 
 If you do wrongfully seize Hereford's rights, [if you do] call in the letters-patents 
 that he hath. — R. II., ii. i. 
 
 What, i' the storm ? i' the night ? Let pity not be believ'd [in] ! — Lear, iv. 3. 
 
 Persever in that clear way [in which] thou goest. — Per., iv. 6. 
 
 Have ever won more in their officer than [in their own] person. — Ant. &• C, iii. 1, 
 
 He '? disposed as [is] the hateful raven : ... for he 's inclin'd as is the rav'nous 
 woif.— 2 H. VI., iii. L. 
 
 In that he is a fox, by nature prov'd [to be] an enemy to the flock ... as Humphrey 
 [is] prov'd by reasons [to be an enemy] to my liege. — Ibid., iii. i. 
 
 So hers is set on mine ; and all [is] combin'd. — R. &• Jul., ii. 3. 
 
 Their bloody sign of battle is hung out, and something [is] to be done. — Jul. C, v. i. 
 
 That lady IS not now living; or this gentleman's opinion [js] , by this, worn out. — 
 Cym., i. 5. 
 
 Though this [is] a heavenly angel, hell is here. — Ibid., ii. 2. 
 
 Her face [is] the book of praises, where is read. — Per., i. 1. 
 
 That Cranmer is return'd with welcome, [and is] install'd Lord Archbishop ci 
 Canterbury. — H. VIII., iii. 2. 
 
 No port is free ; no place [is there], that guard. — Lear, ii. 3. 
 
 Ever shall [it] in safety rest, 
 
 And the owner oiit [be] blest. — Mid. N. D., v. 2. 
 
 Hit be denied, [it] will much impeach the justice. — Mer. of V., iii. 3. 
 
 Had it stretched so far, [it] would have made nature immortal. — All's W., i. 1. 
 
 X 2 
 
3o8 THE SHAKESPEARE KEY. 
 
 Be [if] what it is, the action of my life is like it. — Cym., v. 4. 
 
 Nurses are not the fates, to foster it, nor ever to preserve [it]. — Per., iv. 4. 
 
 Noted and most known [to be known] to youth and liberty. — Hamlet, ii. i. 
 
 ■Passion lends them power, time [lends them] means to meet. — R. &-yul.,i.^ (Chorus). 
 
 Therefore, [let] all hearts in love use their own tongues ; let every eye negotiate for 
 itself. — M. Ado, ii. i. 
 
 Let four captains bear Hamlet . . . and, for his passage, [let] the soldiers' music. — 
 Hamlet, v. z. 
 
 Ne'er long'd my mother so to see me first, as I have [longed] now. — Cym., iii. 4. 
 
 Little are we beholden to your love, and little [was this love] look'd for at your 
 helping hands. — R. II., iv. i. 
 
 Is, of a king, become a banish'd man, and forc'd to live in Scotland a forlorn 
 [man]. — 3 H. VI., iii. 3. 
 
 And may direct his course as [may] please himself. — R. III., ii. 2. 
 
 That none of you may live his natural age, but by some unlook'd accident [may be] 
 cut off. — Ibid., i. 3. 
 
 My relief must not be toss'd and turn'd to me in words, but [maii] find supply 
 immediate. — Timon, ii. i. 
 
 Yet I must not, for certain friends that are both his and mine, whose loves I may 
 not drop, but [must] wail. — Macb., iii. 1. 
 
 Your presence needs must puzzle Antony ; [needs must] take from his heart, take 
 from his brain. — Ant. <&■ C, iii. 7. 
 
 The tadpole, the wslUnewt and the water [-newt]. — Lear, iii. 4. 
 
 I do not know what kind of my obedience I should tender ; more than my all [of 
 obedience] is [as] nothing [compared with that which is due]. — H. VIII., ii. 3. 
 
 When you have push'd out [of] your gates the very defender 0/ them. — Coriol., v. 2. 
 
 Of thy deep duty more impression show than [of] that of common sons Ibid., v. 3. 
 
 What you shall know meantime of stirs abroad, I shall beseech you, sir, to let me 
 be partaker [0/]. — Ant. &■ C, i. 4. 
 
 Vast confusion waits — as doth a raven on a sick-fallen beast — [on] the imminent 
 decay of wrested pomp. — John, iv. 3. 
 
 On him erect a second hope, as fairly built as [on] Hector. — Tr. &• Cr., iv. 5. 
 And have prevail'd as much on him, as [ok] you. — R. III., i. i. 
 
 [On] whom heavens, in justice, both on her and hers, have laid most heavy hand. 
 
 Cym., V. 5. 
 
 Thy sight, which should make our eyes flow with joy, hearts dance with comforts, 
 
 constrains them [our eyes to] weep, and [our hearts to] shake with fear and sorrow. 
 
 Coriol., V. 3. 
 
 Pass no farther. — Ha ! what is that ? — It will be dangerous to go on : [J>ass] no 
 farther. — Ibid., iii. i. 
 
 My next poor petition is . . . The last [petition] is. — H. VIII., iv. 2. 
 
 Thou hast not half the power to do me harm as I have [power to] endure to be 
 hurt. — 0th., /. 2. 
 
 Heputs on sackcloth, and [puts] to sea. — Per., iv. if..{Gower). 
 
 Hereditary, raiAey than purchas'd; what he cannot change, [rather] than what he 
 chooses. — Ant. &• C, i. 4. 
 
 She shows a body rather than a life ; a statue, [rather] than a breather. — Ibid., iii. 3. 
 
 Have you an army ready, say you ? — A most royal one . . . already in the enter- 
 tainment, and [ready] to be on foot. — Coriol., iv. 3. 
 
 They smart to hear themselves remembered. — Should they not [be rememher'd], well 
 might they fester. — Ibid., i. g. 
 
 Say that Marcius return me, as Cominius is return'd, unheard ; what then ? [Say 
 that I return] but as a discontented friend, grief-shot with his. — Ibid., v. i. 
 
 To know our enemies' minds, we'd rip their hearts; [to rip] their papers, is more 
 lawful. — Lear, iv. 6. 
 
ELLIPTICAL STYLE. 309 
 
 But thought 's the slave of life, and life ['s] time's fool.— 1 H. IV., v. 4. 
 
 So seem, as if you were inspir'd to do those duties which you tender to her; [make 
 it seem] that you in all obey her. — Cym., ii. 3. 
 
 Haply, you shall not see me more : or if [you do see me, you will see me] a mangled 
 shadow. — Ant. <&> C, iv. 2. 
 
 No simple man that sees this jarring discord . . . but [sees] that it doth presage 
 some ill event. — i H. VI., iv. i. 
 
 Hubert shall be your man, [and shall] attend on you. — John, iii. 3. 
 
 When I shall dwell with worms, and my poor name [shall be] banish'd.— H. VIII., 
 iv. 2. 
 
 I nothing know where she remains, why {she is] gone. — Cym., iv. 3. 
 
 Here is four Harry ten shillings in French crowns for you. . . . you shall have forty 
 [shillings], sir. — 2 H. IV., iii. 2. 
 
 Should be as holy as severe ; [should be a] pattern in himself. — M.for M., iii. 2. 
 
 When service should in my old limbs lie lame, and unregarded age [should be] in 
 corners thrown. — As You L., ii. 3. 
 
 Of any power to expel sickness, but prolong his hour [of sickness]. — Timon, iii. i. 
 
 Why did you suffer lachimo . . . and [suffer Posthumus] to become the geek and 
 scorn o' the other's villany ? — Cym., v. 4. 
 
 Which, taken at the flood, leads on to fortune; omitted [to be taken at the flood], all 
 the voyage of. — Jul. C, iv. 3. 
 
 That you may, fair lady, perceive [that] I speak sincerely, and [that] high note 's 
 ta'en of your many virtues. — H. VIII., ii. 3. 
 
 The feast is sold that is not often vouch'd, while 'tis a making, [that] 'tis given with 
 welcome. — Macb., iii. 4. 
 
 I, that please some, try all ; [that am] both joy and terror. — W. T., iv. (Chorus). 
 
 'Tis not my profit that does lead mine honour ; [but] mine honour [that does lead] 
 it.— .int. &■ C, ii. 7. 
 
 What thing is it that I never did see man die ! [that F] scarce ever look'd on blood, 
 . . . [that I] never bestrid a horse. — Cym., iv. 4. 
 
 [The] last thing he did, dear queen, he kiss'd — the last of many doubled kisses — this 
 orient pearl. — Ant. &• C, i. 5. 
 
 This might be the pate of a politician. . . . This might be [the fate of] my lord 
 such-a-one. — Hamlet, v. i. 
 
 I pray thee, loving wife, and [thee^ gentle daughter. — 2 H. IV., ii. 3. 
 
 If they should speak, [they] would almost damn those ears. — Mer. of V., i. j.. 
 
 For they wear themselves in the cap of the time, there [they] do muster true gait, 
 eat, speak, and move. — All's W., ii. i. 
 
 That . . . my accusers, be [they] what they will. — H. VIII., v. 2. 
 
 They ne'er cared for us yet : [they] suffer us to famish . . . [they] make edicts . . . 
 [they] repeal daily . . . and [they] provide. — CorioL, i. i. 
 
 And they within our power, [they] shall never see. — Lear, •/. i. 
 
 It was she first told me thou wast mad ; then [thou] cam'st in smiling. — Tw. N., v. i. 
 
 Be thou a spirit of health or goblin damn'd, [whether thou] bring with thee airs from 
 heaven or. — Hamlet, i. 4. 
 
 Thoit that beget'st him that did thee beget ; thou that wast born at sea. . . . Thou 
 last been godlike perfect) [thou] the heir of kingdoms. — Per., v. i. 
 
 Or perform my bidding, or thou liv'st in woe ; do 't and [thou liv'st] happy. — 
 Ibid., V. 2. 
 
 For with [the tidings of] her death that tidings came. — ful. C, iv. 3. 
 
 Thy false uncle — Dost thou attend me ? — Sir, most heedfuUy. — [Thy false uncle] 
 being once perfected. — Temp., i. z. 
 
 And be thy wife (if any be so mad [as to become thy wife]). — R. III., iv. i. 
 If you knew to whom you show this honour, [to] how true a gentleman you send 
 relief, [to] how dear a lover. — Mer. of V., iii. 4. 
 
310 THE SHAKESPEARE KEY. 
 
 Bid him repair to us to Ely House to see [to] this business. — R. 11., ii. i. 
 
 There needs no ghost, my lord, [to] come from the grave to tell us this. — Hamlet, i. 5. 
 
 Better [to be] thus, and known to be contemn'd than still [to be] contemn'd. — 
 Lear, iv. i. 
 
 To be acknowledg'd, madam, is [to be] o'erpaid.— Ibid., iv. 7 
 
 I have much to do [to do anything] but to go hang my head. — 0th., iv. 3. 
 
 Best of comfort [to us] ; and ever welcome to us. — Ant. S- C, iii. 6. 
 
 Prove true, imagination, oh, prove true! ... oh, if it prove [true], tempests are 
 kind.— Tk'. N., iii. 4. 
 
 To die ^lpon the bed my father died [upon]. — W. T., iv. 3. 
 
 Was by the rough seas reft of ships and men, and, after shipwreck, driven 
 [was] bereft of ships and men, [and], cast on this shore.— P^;-., ii. 3. 
 
 You are as welcome, worthy sir, as I have words to bid you [welcome with]. — 
 Cym., i. 7. 
 
 'Twere a paper lost, as offer'd mercy [that were lost] is. — Ibid., i. 3. 
 
 To make the truth appear where it seems hid, and hide the false [where it] seems 
 true. — M.for M., v. 1. 
 
 Lucius, who 's that [who] knocks ? — ful. C, ii. 1. 
 
 From Cordelia, who hath most fortunately been inform'd of my obscured course; and 
 [who] shall find time. — Lear, ii. 2. 
 
 But myself, who had the world as my confectionary ; [who had] the mouths, the 
 tongues, the eyes. — Timon, iv. 3 . 
 
 Who would not wish to be from wealth exempt, since riches point to misery and 
 contempt ? Who would be so mock'd with glory ? or [wlio would wish] to live but 
 in a dream of friendship ? [who would wish] to have his pomp, and all what state 
 compounds, but only painted. — Timon, iv. 3. 
 
 My inch of taper will be burnt and done, and blindfold death [will] not let me see 
 my son. — R. II., i. 3. 
 
 A vulgar comment will be made of it, and that [will be] supposed by the common 
 rout. — Com. of E., iii. 1. 
 
 Whose repetition will be dogg'd with curses ; whose chronicle [will be] thus writ. — 
 Coriol., v. 3. 
 
 Unless you undertake that with me, [with] which with as much safety you might 
 answer him. — Tw. N., iii. 4. 
 
 Had I but serv'd my God with half the zeal [with which] I serv'd my king. — 
 H. VIII., iii. 2. 
 
 With patience more than savages could suffer [with]. — Ant. <&■ C, i. 4. 
 
 Your eye in Scotland would create soldiers, [and would] make our women fight. — 
 Macb., iv. 3. 
 
 Thou wouldst have plung'd thyself in general riot ; [wouldst have] melted do\^•n 
 thy youth . . . and never [wouldst have] learn'd the icy precepts of respect, but 
 [wouldst have] foUow'd. — Timon, iv. 3. • 
 
 You must be so too, if [you] heed me. — Temp., ii. 1. 
 
 And \ea.ve you hindmost ; or . . . [you] lie there for pavement.- -Tr. &• Cr., iii. 3. 
 
 Perchance some single vantages you took, when my indisposition put you back ; and 
 that unaptness [you] made your minister. — -Timon, ii. 2. 
 
 As you are old and reverend, [you] should be wise. — Lear, i. 4. 
 
 Your high self . . . you have obscur'd with a swain's wearing; and me, poor lowly 
 maid, [vou have] most goddess-like prank'd up. — W. T., iv. 3. 
 
 In Antiochus and his daughter you have heard ... in Pericles, his queen, and 
 daughter [}'oti have] seen. — Per., v. 3 (Gower). 
 
 Beseech your highness, give us better credit . . . and beseech [your highness] so to 
 esteem of us. — W. T., ii. 3. 
 
ELLIPTICAL STYLE. 3" 
 
 He even has passages where a word or phrase gives a somewhat 
 similar word or phrase to be elliptically understood in the sentence :— 
 
 You are darken'd in this action, sir, even by your own [act]. — Coriol., iv. 7. 
 
 This shall make our purpose [appear] necessary, and not envious : which so appear- 
 ing to the common eyes. — jul. C, ii. i. 
 
 Pale and bloodless, [the blood] being all descended. — 2 H. VI., iii. 2. 
 
 They of Rome are enter'd in our counsels, and know . . . what ever [proposals made 
 in council] have been thought on. — Coriol., i. 2. 
 
 I cannot make you what amends I would, therefore accept such kindness as I can 
 [do you]. — R. III., iv. 4. 
 
 Had I been thief-stolen. 
 
 As my two brothers, [I had been] happy ! — Cym., i. 7. 
 
 Your imprisonment shall not be long ; I will deliver you, or else lie [in prison] for 
 you. — R. III., i. L. 
 
 I died for hope [of lending thee aid] ere I could lend thee aid.— Ibid., v. 3. 
 
 Out of his noble nature, [and out of the] zeal and obedience. — H, VIII., iii. i. 
 
 Press not a falling man too far ! 'tis virtue [to forbear bom pressing him too far]. — 
 Ibid., iii. 2. 
 
 I have no spur to prick the sides of my intent, but only vaulting ambition, which 
 o'erleaps itself, and falls on the other [side]. — Macb., i. 7. 
 
 Thanks, fortune, yet. . . . and [I thank thee] though it was mine own. — Per., ii. r. 
 
 I abhor this dilatory sloth and [these] tricks of Rome. — H. VIII., ii. 4. 
 
 And how [they live there], and who [they are], what means [they have] and where 
 they keep. — Hamlet, ii. i. 
 
 As we are going [to those] to whom it must be done. — Jul. C, ii. i. 
 
 Will you ha' the truth on't ? . . . Why, there thou say'st [true]. — Hamlet, v. i. 
 
 What makes this change ? — [What is] the matter ? — Coriol., iii. i. 
 
 Nor has he with him [wherewith] to supply his life. — Timon., iv. z. 
 
 Occasionally he has passages where a verb in one form gives the 
 same verb in another form to be elliptically understood [See Verbs 
 
 PECULIARLY USEDJ : — 
 
 Your uncle York is join'd with Bolingbroke ; and all your northern castles [arc] 
 yielded up, and all your southern gentlemen [are] in arms. — R. II., iii. 2. 
 
 Now is the winter of our discontent made. . . . and all the clouds, that lower'd upon 
 our house, [are] in the deep. — R. III., i. i. 
 
 So much is mypoverty of spirit, so mighty and so many [are] my defects. — Ibid., iii. 7. 
 
 Thy Clarence he is dead. . Vaughan, Grey, [are] untimely smother'd. — Ibid., iv. 4. 
 
 The queen is comfortless, and we [are] forgetful. — H. VIII., ii. 4. 
 
 It is, as the air, invulnerable, and our vain blows [are] malicious. — Hamlet, i. i. 
 
 There is no shuffling, . . and we ourselves [are] compell'd. — Ibid., iii. 3. 
 
 Am I not witch'd like her ? or [art] thou not false like him ? — 2 H. VI., iii. 2. 
 
 Which ever has [been] and ever shall be growing. — H. VIII., iii. ij. 
 
 That [I] am, have [been], and will be. — Ibid., iii. 2. 
 
 That means not [to be], hath not [been], or is not in love ! If then one is, or hath 
 [been], or means to be. — Tr. &• Cr., i. 3. 
 
 When he hath [coped], and is again to cope your wife. — 0th., iv. i. 
 
 Than you have [deserv'd] or will deserve at my hand. — All's W., ii. 5, 
 
 The sum of all I can [disclose], I have disclos'd. — R. III., ii. 4. 
 
 Dismay'd not this our captains, Macbeth and Banquo ? — Yes; as sparrows [dismay] 
 eagles, or the hare [dismays] the lion. — Macb., i. 2. 
 
 That what he will [do], he does ; and does so much. — Tr. &• Cr., v. 5. 
 
 What can you say to draw a third more opulent than your sisters [have drawn] ? 
 
 Lear, i. 1. 
 
312 THE SHAKESPEARE KEY. 
 
 Love goes toward love, as schoolboys [go] from their books ; but love [goes] from 
 love, [as schoolboys g-o] toward school. — R. &• Jul., ii. 2. 
 
 The Earl of Worcester hath, broke his staff . . . and all the household servants 
 [have] fled with him. — R. II., ii. 2. 
 
 She hath not given so many good words breath as for her Greeks and Trojans [ha'je 
 suffer'd death. — Tr. &■ Cr., iv. i. 
 
 Your eyes are lode-stars ; and your tongue's sweet air [is] more. — Mid. N. D., i. i. 
 
 Our tears are not yet brew'd. — Nor [is] our strong sorrow. — Macb., ii. 3. 
 
 Thou art the midwife to my woe, and Bolingbroke [is] my. — R. II., ii. i. 
 
 This might be my lord such-a-one . . . and now [is] my lady Worm's. — Hamlet, >. i. 
 
 Jove knows what man thou might'st have made; but I [know], thou diedst, a most 
 rare boy, of melancholy! — Cym., iv. 2. 
 
 She was belov'd, she lov'd ; she is [belov'd^, and doth [love]. — Tr. &• Cr., iv. 5. 
 
 He loves me well, and I have given him reasons [to love me]. — yuL C, ii. i. 
 
 At first meeting lov'd; continu'd so [loving him] until we. — Cym., v. 5. 
 
 Was like [to /nis], and had indeed against us pass'd! — H. V., i. i. 
 
 Do you not think he thinks himself a better man than I am ? — No question [that he 
 does think so]. — Tr. <&> Cr., ii. 3. 
 
 Bloodily were butcher'd, and I myself [was] secure in. — R. III., iii. 5. 
 
 Ajax was here the voluntary, and you [were] as under. — Tr. (&> Cr., ii. i. 
 
 He occasionally has a form of question where the word "not" is 
 elliptically understood : — 
 
 But [why should we not] rather follow our forceful instigation ? — W. T., ii. i. 
 
 Nay, gave [I not] notice he was from thence discharg'd ? — H. VIII., ii. 4. 
 
 Or at least [have not been] strangely neglected ? — Ibid., iii. i:. 
 
 At what ease might [not] corrupt minds procure knaves as corrupt to swear agains 
 you? — Ibid., v. j.. 
 
 Wliat heart receives [not] from hence the conquering part, to steel a strong opinion 
 to themselves ? — Tr. &• Cr., i. 3. 
 
 Who knows if one of her women, being corrupted, hath [not] stolen it from her? — 
 Cym., ii. 4. 
 
 For farther instances of Shakespeare's elliptical style, see Ellipses of 
 Comparison, Elliptically used Words, and Peculiar Construction. 
 
 ELLIPTICALLY USED WORDS. 
 
 Shakespeare frequently uses single words with largely elliptical and 
 inclusive force. He sometimes employs nouns elliptically : — 
 
 Much attribute [attributed merit] he hath. — Tr. &• Cr., ii. 3. 
 
 A night is but small breath [breathing time] and little pause. — H. V., ii. 4. 
 
 But that my coat [under-coat of mail armour] is better. — 0th., v. i. 
 
 I can make no collection [collective deduction] of it. — Cym., v. 5. 
 
 He gave you all the diities [qualities duly belonging to] of a man. — i H. IV., v. 2. 
 
 I am much asham'd of my exchange [of woman's for man's clothes]. — Mer.of V., ii. 
 
 Hath borne his faculties [of royalty, sovereign powers] so meek.— Macb., i. 7. 
 
 The native mightiness and [power decreed to him hy] fate of him. — H. V., ii. 4. 
 
 He is a man, setting his fate [the misfortune of appearing criminal fated to befal 
 •him, and the fiery temper decreed him by fate] aside, of comely virtues. — Timon, iii. 5. 
 
 The [remission of the] forfeit, sov'reign, of my servant's life. — R. III., ii. i. 
 
 What [act of] friendship may I do thee ? — Timon, iv. 3. 
 
 If I do vow a [n act of] friendship, I '11 perform it. — 0th., iii. 3. 
 
 Have for the gilt [gold coin] of France (oh, guilt indeed !). — H. V., ii. {Chorus). 
 
 If I were not at half-sword [half a sword's length] with a dozen. — i H. IV., ii. 4. 
 
ELLIPTICALLY USED WORDS. 313 
 
 'Tis now your honour [honourable task], daughter, to explain. — Per., ii. 2. 
 
 Our imputation [imputed excellence] shall be oddly pois'd. — Tr. &• Cr., i. 3. 
 
 In the imputation [imputed excellence] laid on him by them, in his meed he 's un- 
 fellowed. — Hamlet, v. 2. 
 
 Which then our [want of] leisure would not let us hear. — R. II., i. ±. 
 
 The [want of] leisure and the fearful time cuts off. — R. III., v. 3. 
 
 For now all length [of endurance and existence] is torture. — Ant. &• C, iv. 12. 
 
 It is no other but the main [and obvious cause]. — Hamlet, ii. 2. 
 
 We answer others' merits [deeds meriting reprobation and punishment] in our name, 
 are therefore to be pitied. — Ant. &• C, v. 2. 
 
 That man might ne'er be wretched for his mind [high-mindedness, liberality of 
 spirit]. — Timon, i. 2. 
 
 The night- mare and her nine-fold [nine-numbered foals]. — Lear, iii. 4. 
 
 Swear against objects [likely to inspire relenting]. — Timon, iv. 3. 
 
 One that feeds on objects [of pursuit], arts, and imitations. — Jul. C, iv. i. 
 
 That woman that cannot make her fault her husband's occasion [occasioning; to be 
 occasioned by her husband]. — As You L., iv. i. 
 
 And nature, stronger than his just occasion [the resentment occasioned by his 
 brother], made him. — Ibid., iv. 3. 
 
 May one be pardon'd, and retain the offence [the gain for which the offence was 
 committed] ? — Hamlet, iii. 3. 
 
 And prologue to the omen [ominous event] coming on. — Ibid., i. i. 
 
 Pride, haughtiness, opinion [opiniatedness ; the arrogance of inordinate self-opinion], 
 and disdain. — i H. IV., iii. i. 
 
 Smoke and lukewarm water is your perfection [perfect image or resemblance]. — 
 Timon, iii. 6. 
 
 What [the royal] presence must not know. — R. II., i. 3. 
 
 The grass whereon thou tread'st the presence [-chamber] strew'd. — Ibid., i. 3. 
 
 The two great cardinals wait in the presence [-chamber]. — H. VIII., iii. i. 
 
 r the [royal] presence he would say untruths. — Ibid., iv. 2. 
 
 This [royal] presence knows, and you must needs have heard. — Hamlet, v. 2. 
 
 I '11 make division of my present [store of money] with you. — Tw. N., iii. 4. 
 
 In her sex, her yenTS, profession [of that which she is able to perform], wisdom, and 
 constancy, hath amaz'd me. — All's W., ii. i. 
 
 His remedies [chances of remedying his downfall] are tame. — Coriol., iv. 5. 
 
 If they set down before us, for the remove [the removal of them] bring up your 
 army. — Ibid., i. 2. 
 
 Reason and respect [to consequences] make livers pale, and lustihood deject. — 
 Tr. &■ Cr., ii. 2. 
 
 The icy precepts oi respect [to prudence and decorum]. — Timon, iv. 3. 
 
 'Tis worse than murder, to do upon [that which should command] respect such 
 violent outrage. — Lear, ii. 4. 
 
 In thy reverence [time of life when reverence is due] and thy chair days, thus to die 
 in ruffian battle ? — 2 H. VI., v. 2. 
 
 Say that right [righteous vengeance] for right [righteous vengeance] hath dimm'd 
 your infant morn. — R. III., iv. 4. 
 
 Drove us to seek out this head of safety [collective force whereby we hope to gain 
 safety]. — i H. IV., iv. 3. 
 
 He hath a wisdom that doth guide his valour 
 
 To act in safety [moral safety, righteous precaution]. — Macb., iii. i. 
 
 Thou shall see an answerable sequestration [from each other]. — 0th., i. 3. 
 
 The severals [several particulars] and unhidden passages. — H. V., i. i. 
 
 Are you yet to your own souls ['welfare] so blind. — R. III., i. 4. 
 
 As you are a king, speak in your [royal] state. — 2 H. IV., v. 2. 
 
314 THE SHAKESPEARE KEY. 
 
 Where it shall mingle with the state [majestic state, statelinessj of floods. — 
 
 2H.IV., V.2. 
 
 To make them instruments of fear and warning 
 
 Unto some monstrous state [of things, affairs, or events]. — jfiil. C, i. 3. 
 
 Lest example breed, by his sufferance' [suffering him to go unpunished], more of 
 such a kind. — H. V., ii. 2. 
 
 But God be thanked for prevention ; 
 
 [At] which I in sufferance [suffering death] heartily will rejoice. — Ibid., n. 2. 
 
 Persuade me rather to be slave and sumpter [stwiptcr-mvi.\&\ 
 
 To this detested groom. — Lear, ii. 4. 
 
 The s-jscet [sweetest portion] o' the year. — W. T., iv. 2 {Song). 
 
 The sweet [sweetest portion] of the night. — 2 H. IV., v. 3. 
 
 Turning dispiteous [purpose to] torture out of door ! — jfohn, iv. i. 
 
 Throw away respect, tradition [traditional observance], form, and ceremonious duty. 
 —R. II., iii. 2. 
 
 We must supplant those rough rug-headed kerns, 
 
 Which live like veiioui [venomous reptiles], where no venom [venomous reptiles], 
 else. — Ibid., ii. 1. 
 
 You 're a gentleman of mine own way [of thinking in religious questions] ; I know 
 you wise. — H. VIII., v. i. 
 
 Why then, you princes, do you with cheeks abash'd behold our works [the inadequate 
 amount of what we have done.] — Tr. &• Cr., i. 3. 
 
 There are some technical terms, used by Shakespeare, where the 
 names of implements, instruments, weapons, &c., are employed for 
 their bearers or users : — 
 
 Bring up the brown bills [brown-bill-bearers]. — Lear, iv. 6. 
 
 The drum [drummer] your honour hears marcheth from Warwick. — 3 H. VI., v. i. 
 
 There is an ensign [ensign-bearer] there at the pridge. — H. V., iii. 6. 
 
 This ensign-\ [ensign-bearer] here of mine was turning back ; 
 
 I slew the coward, and did take it from him. — Jul. C, v. 3. 
 
 I have procured thee, Jack, a charge of foot [foot-soldiers]. — 
 
 I would it had been of horse [horse-soldiers]. — i H. IV., iii. 3. 
 
 Consisting equally of Aorje [horse-soldiers] Rnd foot [foot-soldiers]. . . . 
 
 Shall have the leading of the foot and horse. . . 
 
 Shall be well winged with our chiefest horse. — ii. III., v. 3. 
 
 The general of our horse thou art. — All's W., iii. 3. 
 
 'Tis Alcibiades, and some twenty horse [horsemen]. — Tinton, i. i. 
 
 The armipotent Mars, of lances [lancemen] the almighty. — Love's L.L., v. 2. 
 
 And turn our impress 'd lances-f in our eyes. 
 
 Which do command them. — Lear, v. 3. 
 
 Where is the post that came from valiant Oxford ? — 3 H. VI., v. i. 
 
 Thou shalt be my lieutenant, monster, or my standard [standard-bearer]. — Your 
 lieutenant, if you list; he's no standard [punnmgly; one prevented by liquor from 
 standing upright]. — Temp., iii. 2. 
 
 Thou, trumpet [trumpeter], there's my purse. Now crack thy lungs, and split thy 
 brazen pipe. — Tr. &• Cr., iv. 5. 
 
 Shakespeare often employs adjectives elliptically : — 
 To take advantage of the absent time [the time when the King is absent], and 
 fright our native peace. — R. II., ii. 3. 
 
 * In Shakespeare's time this word as well as "suffer" and " suffered," were used 
 with much force of ellipsis ; and it will be seen by passages subsequently here cited 
 that he thus employed them. 
 
 f In both the above passages to which this note refers, the terms being used for the 
 weapons and their bearers, allows the poet to employ the word (" ensign " in the first 
 passage, " lances " in the second) in its double sense. 
 
ELLIPTICALLY USED WORDS. 3i5 
 
 May seem as shy, as grave, as just, as absolute [absolutely meritorious, completely 
 excellent] as angels. — il.for M., v. i. 
 
 It is a most absolute and excellent horse. — H. V., iii. 7. 
 
 Therefore, most absolute sir, if thou wilt have the. — Coriol., iv. 5. 
 
 This Philoten contends in skill with absolute Marina. — Per., iv. [GoTver). 
 
 And the will dotes, that is attributive [of excellence or merit] 
 
 To what infectiously itself affects, 
 
 Without some image of the affected merit. — Tr. &' Cr., ii. 2. 
 
 It was a bare [bare-faced, unblushing] petition of a state 
 
 To one whom they had punish'd. — Coriol., v. 1. 
 
 When better [better men, officers superior to yourselves in rank] fall, for your avails 
 they fell.— /I H's W.,iii. 1. 
 
 Too ceremonious [observant of ceremonial forms] and traditional [scrupulous in 
 respecting traditional privilege]. — R. III., iii. 1. 
 
 Thou visible God, that solder'st close impossibilities [things that seem impossible 
 to be brought close together] and mak'st them kiss ! — Timon, iv. 3. 
 
 Go to thy COLD bed [bed to which one goes being cold ; bed feeling cold at first 
 plunge into it], and warm thee. — Tarn, of S., Indue. 1. 
 
 Go to thy cold bed, and warm thee. — Lear, iii. 4. 
 
 CoMMo:i pleasures [pleasures to be enjoyed by you all in common], to walk abroad, 
 and recreate yourselves. — jful. C, iii. 2. 
 
 Wherein the cub-drawn bear [the bear whose dugs are drawn by its cubs] would 
 couch. — Lear, iii. i. 
 
 What too CURIOUS dreg [dreg too curiously, carefully, or scrupulously seen] espies 
 my sweet lady in the fountain of our love? — Tr. &• Cr., iii. 2. 
 
 Plots have I laid, inductions dangeroiis [leading to dangerous consequences], by 
 drunken prophecies, libels, and dreams. — R. III., i. i. 
 
 To-morrow with your earliest [opportunity], let me have speech with you. — 0th., ii. 3. 
 
 But, for those earthly faults [faults committed against earthly laws], I quit them 
 all.— Jl/. for iU, V. 1. 
 
 That 's a perilous shot out of an elder [elder-wood] gun. — H. V., iv. i. 
 
 [At] First he was a noble servant to them. — Coriol., iv. 7. 
 
 Upon our first [appeal, or remonstrance], he sent out to suppress. — Hamlet, ii. 2. 
 
 Free lords [lords free to utter your opinion ; free to speak plainly and free to act 
 decisively], cold snow melts with the sun's. — 2 H. VI., iii. l. 
 
 And to deliver, like free [free-spoken] and honest men. — H. VIII., iii. ±. 
 
 Do faithful homage, and receive free honours [honours free from pollution in the 
 hand that confers them, free from taint of servility in us that accept them, and free 
 from fear and constraint in their possession]. — Macb., iii. 6. 
 
 And hold her free [free from blame, pure, and chaste]. — 0th., iii. 3. 
 
 You know my father left me some prescriptions 
 
 Of rare and prov'd effects, such as his reading 
 
 And manifest experience had collected 
 
 For general sovereignty [sovereign remedies in various cases].— /1/Z's W., i. 3. 
 
 I have been bold (for that I knew the most general [generally comprehensive, collec- 
 tively effectual] way) to them to use your signet and your name. — Timon, ii. 2.' 
 
 There 's more behind that is more gratulate [subject of congratulation]. M. 
 
 for M., V. I. 
 
 Thy praises in his kingdom's great* defence [defending so greatly his great kingdom] . 
 — Macb., i. 3. 
 
 The other lords, like lions wanting food. 
 
 Do rush upon us as their hungry prey [the prey for which they are hungrvl — 
 I H. VI., i. 2. J s Ji 
 
 * It will be perceived how some of the epithets here quoted — as, " great," " ignorant " 
 " learned," " solemn "—have not only elliptical but duplicate effect in these passages'. 
 
 i passages. 
 
3i6 THE SHAKESPEARE KEY. 
 
 And every man hence to his idle bed [the bed where he may lie idle]. — ytil, C, ii. i. 
 
 Thy letters have transported me beyond 
 
 This IGNORANT present, [this present moment unacquainted with the existence of 
 that which hereafter will exist] and I feel now 
 
 The future in the instant. — Macb., i. 5. 
 
 What IGNORANT* sin have I committed [What senseless sin have I ignorantly 
 committed]. — 0th., iv. 2. 
 
 More than the instant [instantly levied, suddenly raised] army we can make, might 
 stop our countryman. — Coriol., v. i. 
 
 My strange and self-abuse is the isitiative. fear [the fear that attends the initiative 
 steps in guilt], that wants hard use : we are yet but young in deed. —Macb., iii. 4. 
 
 Do you know, and dare not be intelligent [conveyant of intelligence, explicit] to 
 me }—W. T., i. 2. 
 
 Which are to France the spies and speculations 
 
 Intelligent [conveying intelligence, giving information] of our state. — Lear, iii. i. 
 
 This is the letter he spoke of, which approves him an intelligent [intelligent of events, 
 and communicating intelligence of them] party to the advantages of France. — Ibid., iii. ^. 
 
 Our posts shall be swift and intelligent [conveyant of intelligence] betwixt us. — 
 Ibid., Hi. 7. 
 
 A single voice ; and that not pass'd me but by learned approbation of the judges 
 [by the ascertained approbation of the learned judges]. — H. VIII., i. 2. 
 
 In the porches of mine ears did pour the leperous distilment [the distilment causing 
 leprosy]. — Hamlet, i. 5. 
 
 Strew me over with maiden flowers [such flowers as are used in burying maidensl, 
 that all the world. — H. VIII., iv. 2. 
 
 Sorrow were ever raz'd, and testy wrath 
 
 Could never be her mild companion [the companion of her mildness]. — Per., i. i. 
 
 Garnish'd and deck'd in modest* complemetU [accomplishment or complete excellence 
 modestly displayed]. — H. V., ii. 2. 
 
 If these men have defeated the law and outrun native punishment [punishment 
 naturally theirs, punishment to which they are born if they offend, and punishment in 
 their native landj. — Ibid., iv. i. 
 
 And we in negligent danger [in danger of being negligent, in danger from 
 negligence]. — Ant. <&■ C, iii. 6. 
 
 This shows you are above, 
 
 You justicers, that these our nether crimes [the crimes of us here below, the crimes 
 of us in this nether world] so speedily can venge! — Lear, iv. s. 
 
 To sing a song that old [of old, in olden times] was sung. — Per., i. (Gower). 
 
 Are at point to show their open [openly displayed, as well as unfurled] banner. — 
 Lear, iii. i. 
 
 The tyranny of the open night 's [night in the open air is] too rough for nature to 
 endure. — Ibid., iii. 4. 
 
 A partial slander [an imputation of partiality] sought I to avoid. — R.II.,i. 3. 
 
 We should think ourselves for ever perfect [perfectly contented, perfect in content]. — 
 Timon, i. 2. 
 
 Go together, you precious winners all [you who have gained what is so precious to 
 you a\\].—W. T., V. 3. 
 
 My love admits no qualifying dross; 
 
 No more my grief, in such a precious loss [in the loss of that which is so precious]. 
 —Tr. &• Cr., iv. 4. 
 
 There hangs a vaporous drop profotmd [possessed of profoundly occult properties]. — 
 Macb., iii. 5. 
 
 His subject am I not, nor here provincial [nor accountable to the jurisdiction of 
 this province]. — M.for M., v. i. 
 
 * It is to be observed, that in many of these elliptically used adjectives, Shakespeare 
 employs an epithet not as a means of qualifying the object named, but as a means of 
 elliptically conveying particulars connected therewith. 
 
ELLIPTICALLY USED WORDS. 317 
 
 That may with reasonable swiftness [the swiftness of reasoning thought, and all 
 the swiftness that can be reasonably expected or hoped], — H. V., i. 2. 
 
 To have seen much, and to have nothing, is to have rich eyes [eyes that have beheld 
 many valuable things] and poor hands. — As You L., iv. i. 
 
 Whose beauty did astonish the survey of richest eyes [eyes that had seen the 
 largest number of beautiful women]. — All's W., v. 3. 
 
 First, if all obstacles were cut away, 
 
 And that my path were even to the crown. 
 
 As the RIPE revenue [that which comes to me in right of greater maturity in age and 
 judgment] and due of birth. — R. III., iii. 7. 
 
 Were our royal faiths [faiths due to regal authority, faiths towards the king] 
 martyrs in love. — 2 H. IV., iv. i. 
 
 Have shown at full their roy.^l [loyally disposed, allegiant, faithful towards the 
 king] minds. — H. VIII., iv. i. 
 
 The venom'd vengeance ride upon our swords ; 
 
 Spur them to ruthful work [deeds that in their result produce ruth or pity], rein 
 them from ruth. — Tr. &• Cr., v. 3. 
 
 Away with scrupulous wit [policy that too scrupulously weighs chances] ! now 
 arms must rule. — 3 H. VI., iv. 7. 
 
 What other bond than secret Romans [Romans secretly united in a mutual cause]. 
 —yul. C, ii. I. 
 
 Upon my secure hour [hour of fancied security] thy uncle stole. — Hamlet, i. 5. 
 
 To lip a wanton in a secure couch [couch fancied to be secure from dishonour], and 
 to suppose her chaste. — 0th., iv. i. 
 
 You have some sick offence [offensive thought causing mental sickness] within your 
 mind. — Jul. C, ii. i. 
 
 If you '11 bestow a small [quantity, portion, or amount] (of what you have little) 
 patience awhile. — Cbriol., i. i. 
 
 Although before the solemn priest I have sworn [the solemn priest I have solemnly 
 sworn], I will not bed her. — All's W., ii. 3. 
 
 Dismiss'd me thus, with his speechless hand [hand waved in silence, hand signing 
 to me without accompanying speech]. — Coriol., ■/. i. 
 
 I wot not by what strong escape [escape eftected by strength], he broke from those 
 that had the guard of him. — Com. of E., v. 1. 
 
 Whose death 's, indeed, the strongest [strongest probability, most probable] in our 
 censure. — Per., ii. 4. 
 
 The better arm you to the sudden time [time of sudden changes that will take place 
 in affairs after the king's death]. — John, v. 6. 
 
 Are there not men in your ward sufficient [of sufficient capacity, sufficingly compe- 
 tent] to serve it ? . . . . the names of some six or seven, the most sufficient of your 
 parish. — M.for M., ii. i. 
 
 My meaning, in saying he is a good man, is to have you understand me, that he is 
 sufficient [sufficiently competent to pay, sufficient in money credit] . . . the man is, 
 notwithstanding, sufficient. — Mer. of V., i. 3. 
 
 You'll never meet a more sufficient [competent, well-qualified] man. — 0th., iii. 4. 
 
 Is this the noble Moor whom our full senate call all-in-all sufficient [of complete 
 excellence, completely qualified] ? — Ibid., iv. i. 
 
 With sunken rock and sumless [not to be summed, that cannot be computed] 
 treasuries. — H. V., i. 1. 
 
 Let the superfluous [endowed with superfluity, possessed of superabundance] and 
 lust-dieted man. — Lear, iv. i. 
 
 That he can hither come so soon, 
 
 Is by your fancy's thankful [thankfiilly received] boon. — Per., v. 2 (Gower). 
 
 All my treasury is yet but uxfelt thanks [thanks not felt in any effect by those to 
 whom the thanks are paid, instead of not felt by him who mentions them] . — R. //., ii. 3 . 
 
 Beshrew the witch ! with venomous wights [persons who deal in nocturnal magic, 
 those who secretly concoct poison] she stays as tediously as hell. — Tr. <&■ Cr., iv. 2. 
 
3i8 THE SHAKESPEARE KEY. 
 
 Yet here she is allowed her virgin crants [garlands, chaplets, coronals, or wreaths 
 customary for a virgin], her maiden strewments [flower-strewings usual for a maiden's 
 grave], and the bringing home of bell and burial. — Hamlet, v. i. 
 
 Oppress'd with two weak evils [evils causing weakness], age and hunger. — As 
 You L., ii. 7. 
 
 Is my lord well, that he doth speak so wide [of the truth, as well as of delicacy and 
 propriety] ? — .U. Ado., iv. i. 
 
 No, no ; no such matter ; you are wide [of the truth, of the mark] : come, your 
 disposer is sick. — Tr. &• Cr., iii. i. 
 
 Still, still, far '.i.'ide [of rationality, of his senses]. — Lear, iv. 7. 
 
 Pyrrhus at Priam drives ; in rage, strikes wide [of his mark] . — Hamlet, ii. 2. 
 
 And with those hands, that grasp'd the heaviest club, subdue my worthiest self 
 [myself, worthiest of destruction]. — Ant. &■ C, iv. 10. 
 
 Several of the above-cited elliptically used vvrords have been suspected 
 of error by previous commentators, because Shakespeare's peculiar style 
 in this particular has not been sufficiently discerned ; but we think the 
 number of passages we have here brought together, demonstrating his 
 frequent practice of thus employing words, will suffice to confirm future 
 commentators in the correctness of many expressions supposed to have 
 been misprinted. While on the subject of our poet's elliptically used 
 adjectives, we take occasion to remark upon the numerous choicely 
 expressive epithets, containing largely inclusive meaning as well as 
 vivid significance, that he uses ; of which the following are but a few : — 
 Bind fast his corky [dry, rigid ; like the bark of a cork-tree] arms. — Lear, iii. 7. 
 
 Not all these, laid in bed majestical. 
 
 Can sleep so soundly as the wretched slave, 
 
 Who, with a body fiU'd, and vacant mind, 
 
 Gets him to rest cramm'd with distressful bread, 
 [the bread of distress, the food of penury and misery, sorry fare ; as well as bread 
 distressfully earned]. — H. V., iv. i. 
 
 We need no grave to sweeten honesty : 
 
 There's not a grain of it the face to sweeten 
 
 Of the whole dungy [foul, rank-smelling] earth. — W. T., ii. i. 
 
 Kingdoms are clay : our dungy [gross, material] earth alike 
 
 Feeds beast as man. — Ant. &• C, i. i. 
 Ned, pr'ythee, come out of that fat [fulsome with reeking hogsheads of beer, with 
 coarse men and women, and with the frequent presence of unctuous Sir John FalstaffJ 
 room. — I H. IV.. ii. 4. 
 
 And thou, fresh piece of excellent witchcraft . . . kisses the hands of your fresh 
 princess [this epithet, twice applied to Perdita, serves to set her before us in her clear- 
 complexioned. clear-souled purity and brightness ; with the bloom of a country 
 maiden's cheek and the white temples of the born princess]. — W. T., iv. 3. 
 But man, proud man, 
 
 Dress'd in a little brief authority — 
 
 Most ignorant of what he 's most assured. 
 
 His glassy essence 
 [that essential nature of man which is like glass from its faculty to reflect the image 
 of others in its own, and from its fragility and liability to injury or destruction!. — 
 M.for M., ii. 2. 
 
 A glooming [besides the effect of gloomy and sad, this word gives the sense of 
 lowering, overcast by the heavens] peace this morning with it brings. — R. &-yul., v. 3. 
 A good lentcn [used in reference to the season of Lent, when fasting and abstinence 
 are observed, this word implies meagre, spare, dry, stinted ; in reference to the 
 clown's answer it implies not only brief, but scant and bare of wit, precisely what the 
 saucy Maria intends to convey] answer ; I can tell thee. — Tw. A'., i. 5. 
 For if the French be lords of this loud [a monosyllable of four letters, thus used 
 
ELLIPTICALLY USED WORDS. 3^9 
 
 by a master-poet, sets before our imagination the uproar of battle — the drums and 
 tramplings and trumpetings and shoutings and groanings of an engagement] day, he 
 means to recompense. — yohn, v. 4. 
 
 Peace is a very apoplexy, lethargy; mulled [suggesting the idea of softness and 
 drowsy quality; as that of wine warmed, spiced, and sweetened] deaf, sleepy, 
 insensible — CorioL, iv. 5. 
 
 How doth that royal [this epithet, thus appended, conveys the idea not only of 
 noble, illustrious, exalted; it arouses recollection of those magnates of commerce, 
 those princes of the mercantile world — such as our own ,Sir Thomas Gresham. whose 
 popular title was " the royal merchant " — for whom Italy in her Venice and Genoa, 
 England in her London and Liverpool, have been famous] merchant, good Antonio ? — 
 ilcr. of v., iii. 2. 
 
 Your son was misled with a snipt-taffeta fellow there, whose villanous saffron 
 would have made all the unbaked and doughy [besides indicating the raw and pasty 
 character of idle young fellows, these epithets include reference to the practice of 
 putting " saffron " into pastry ; and thus morally as well as personally complete the 
 metaphor, by implying that ParoUes leavened his associates with his vices and imbued 
 their nature with the ugly colour of his own, after inducing them to adopt his absurd 
 fashions in attire] youth of a nation in his colour. — All's W., iv. 5. 
 
 A whitely [the very epithet for Biron to use, when — unwilling to allow Rosaline to 
 be/a!> — he involuntarily expresses the effect of a brilliant complexion looking almost 
 white — certainly, dazzling — in contrast with her black eyebrows, eyelashes, and hair] 
 wanton with a velvet brow, with two pitch-balls stuck in her face for eyes. — Love's 
 L. L., iii. I. 
 
 Shakespeare uses a few adverbs elliptically : — 
 
 Hark ! the drums demurely [with the solemnly measured beat, the gravely regulated 
 sound that summons sleeping soldiers to wake and prepare themselves for a second 
 day's fighting after ^ first that has just before been described " as a shrewd one to us "] 
 wake the sleepers. — Ant. &■ C, iv. g. 
 
 That thou commend it strangely [as a stranger, as an alien born] to some place, 
 where chance. — W. T., ii. 3. 
 
 So thou the garland wear'st successively [by right of succession]. — 2 H. IV., iv. 4. 
 
 He uses many verbs elliptically: — 
 
 Unless my sins abuse my divination [cause* me to be abused, or deceived, in my 
 divination. See "hrav'd," " disdain," " dumbs," " laming," " pines," " think," here 
 cited]. — Cym., iv. 2. 
 
 Let us address [ourselves] to tend on Hector's heels. — Tr. &' Cr., iv. 4. 
 
 Call thyself fister, for I aim [at] thee. — Com. o/E., iii. 2. 
 
 Virtue, and that part of philosophy 
 
 Will I apfly [my mind to], that treats of happiness. — Tarn. ofS., i. 1. 
 
 One of our order, to associate [with] me. — R. &• ynl., v. 2. 
 
 He should have brav'd [caused to be brave or gloriousl the east an hour a^o — 
 R.III.,..3. 
 
 The most opportune place, the strong'st suggestion our worser genius canf [make, or 
 present to us]. — Temp., iv. i. 
 
 For what, alas, can [do, effect, avail] these my single arms ? — Tr. &• Cr., ii. 2. 
 I 've seen myself, and serv'd against, the French, 
 And they can [do] well on horseback. — Hamlet, iv. 7. 
 
 * In Shakespeare's time several verbs were used with the words "cause to" or "cause 
 to be " elliptically understood. In Chapman's Homer's " Hymn to Apollo," we find : — 
 
 " And made the sea-trod ship arrive them [cause them to arrive] near the grapeful 
 Crissa." 
 
 f This word was sometimes used by the old writers with the elliptical force of ' can 
 do ' ; and Chaucer even uses " could " for ' could do ' or ' knew well how to do ' : '• It 
 followed well she coulde good." This is line 524 of " The Book of the Duchess," or 
 " Dream of Chaucer," in Charles Cowden Clarke's " Riches of Chaucer." 
 
320 THE SHAKESPEARE KEY. 
 
 What can [do, effect, avail] man's wisdom in the restoring his bereaved sense ? — 
 Lear, iv. 4, 
 
 And when 
 With wild wood-leaves and weeds I have strew'd his grave. 
 And on it said a century of prayers. 
 Such as I can [am able to do], twice o'er, I '11 weep. — Cym., iv. 2. 
 
 He shall be interr'd, as soldiers can [are able to do]. — Ibid., iv. 2. 
 
 Let the priest in surplice white. 
 
 That defunctive music can [is able to perform]. 
 
 Be the death-divining swan. 
 
 Lest the requiem lack his right. — Phcenix &• Turtle, Stanza 4. 
 
 'What a full fortune does the thick-lips owe. 
 
 If he can carry 't [away, off, or through. See Idioms for other instances of " carry " 
 used elliptically] thus ! — 0th., i. i. 
 
 Your prattling nurse 
 Into a rapture lets her baby cry 
 While she chats him [over : gossips about him]. — CorioL, ii. i. 
 
 The reverent care I bear unto my lord 
 
 Made me collect [collectively perceive to exist] these dangers in the duke. — 
 2 H. VI., iii. 1. 
 
 Ajax shall cope [with] the best. — Tr. &• Cr., ii. 3. 
 Yet am I noble as the adversary 
 I come to cope [withal]. — Lear, v. 3. 
 
 Which might deprive [you of] your sovereignty of reason. — Hamlet, i. 5. 
 
 Wherefore should I 
 Stand in the plague of custom, and permit 
 The curiosity of nations to deprive me [of inheritance]. — Lear, i. 2. 
 
 That longer you desire the court [should delay its proceedings]. — H. VIII., ii. 4. 
 
 I will discharge [the debt to] thee ere I go. — Com. of E., iv. 4. 
 
 She did disdain my child [cause my child to be disdained], and stood between her 
 and her fortunes. — Per., iv. 4. 
 
 Deep clerks she dumbs [causes to be silent, or to remain as if dumb] ; and with her 
 neeld composes. — Ibid., v. [Gower). 
 
 A good leg will fall [away ; shrink, dwindle] ; a straight back will stoop ; a black 
 beard will turn white. — H. V., v. z. 
 
 And makes Diana's rangers false themselves [be false to themselves, play them- 
 selves false]; yield up their deer to. — Cym., ii. 3. 
 
 Go : I '11 hold [to my engagement, keep my appointment]. — M. W., v. 1. 
 
 To be ihvis jaded [treated as jades] by a piece of scarlet. — H. VIII., iii. z. 
 
 The ne'er-yet-beaten horse of Parthia 
 
 We have jaded [driven like jades] out 0' the field. — Ant. &• C, iii. i. 
 
 For feature, laming [causing to seem lame or deformed in comparison] the shrine of 
 Venus. — Cym., v. 5. 
 
 You bade me ban, and will you bid me leave [off; cease, desist] ? — 2 H. VI., iii. 2. 
 
 Here, there, and every where, he leaves [them dead] and takes. — Tr. &• Cr., v. 5. 
 
 As common as the stairs that mount the Capitol [by which the Capitol is mounted]. 
 — Cym., i. 7. 
 
 Whose influence if now I court not, but omit [to court], my fortunes will ever after 
 droop. — Temp., i. 2. 
 
 Therefore omit him not [omit not to propitiate him] ; blunt not his love, nor lose 
 the good. — 2 H. IV., iv. 4. 
 
 To see great Pompey pass [through, or along] the streets of Rome. — fnl. C, i. i. 
 
 Though well we may not pass [judgment, or sentence] upon his life without the 
 form of justice. — Lear, iii. 7. 
 
 The jury, passing [judgment, or sentence] on the prisoner's life, may in the sworn 
 
ELLIPTICALLY USED WORDS. 321 
 
 twelve have a thief or two . . . what know the laws that thieves do pass on thieves .' 
 — M.for M., ii. I. 
 
 Disturb him not, let himpass [away; die] peacefully. — 2 H. VI., iii. 3. 
 
 Thus might he pass [aw^y ; expire, die], indeed : yet he revives. — Lear, iv. 6. 
 
 When the thunder would not [hold its] peace at my bidding. — Ibid., iv. 6. 
 
 Where shivering cold and sickness pines the clime [render the climate such as to 
 cause pining away or languishing]. — R. II., v. i. 
 
 What unaccustomed cause procures her [presence] hither? — R. &• Jul., iii. 5. 
 
 So we were quit [from ; free from, away from] here. — H. V., iv. i. 
 
 Takes no account how things go from him ; nor resumes * no care [takes no recapi- 
 tulatory care, no summing-up care] of what is to continue. — Timon, ii. 2. 
 
 Return them [answer; give them notice in return], we are ready; and our 
 daughter. — Per., ii. 2. 
 
 Or we are Romans, and will give you that 
 
 Like beasts, which you- shun beastly, and may 
 
 Save [yourselves from] but to look back in frown. — Cym., v. 3. 
 
 Since last we saw [each other] in France. — H. VIII., i. i. 
 
 When shall we see [each other] again ? — Tr. &• Cr., iv. 4. 
 
 Oh, the gods! when shall we see [each other] again ? — Cym., i. 2. 
 
 To Ely House to see [to] this business. — R. II., ii. i. 
 
 We '11 not commend what we intend to sell [dearly], — Tr. <&• Cr., iv. r. 
 
 Thou may'st not coldly jei [a rate upon; estimate, reckon, value] our sovereign 
 process. — Hamlet, iv. 4. 
 
 It SIGNS well [is a good sign ; it augurs well] does it not ? — Ant. &• C, iv. 3. 
 
 I '11 SILENCE me e'en here [I '11 silently station myself even here]. Pray you, be round 
 with him. — Hamlet, iii. 4. 
 
 Sit, gods, upon your thrones, and smile [derisively, in derision] at Troy ! — 
 Tr. &■ Cr., V. 11. 
 
 Showing, we would not spare Heaven [spare Heaven our offence, refrain from 
 offending Heaven. Sec Varied Meanings, &c., for a sentence where Shakespeare uses 
 "spare" with much inclusive force] as we love it, but as we stand in fear. — M.forM. .ii. 3. 
 
 Than to suffer the flesh-fly [to] blow my mouth. — Temp., iii. i. 
 
 That would suffer her poor knight [to be] surprised. — All's W., i. 3. 
 
 What ! will you not suffer me [to strike her] ? Nay. — Tarn, of S., ii. 1. 
 
 Now 'tis the spring, and weeds are shallow-rooted ; 
 
 Suffer them now [to remain undisturbed], and they'll o'ergrow the garden. — 
 2H.'VI.,iii. 1. 
 
 My duty cannot suffer [me] to obey in all. — Lear, iii. 4. 
 
 With patience more than savages could suffer [with], — Ant. &• C, i. 4. 
 I see men's judgments are 
 
 A parcel of their fortunes ; and things outward 
 
 Do draw the inward quality after them. 
 
 To suffer [abatement, diminution, deterioration, or declension] all alike. — Ibid., iii. 11. 
 
 First let them try themselves. So did your son ; 
 
 He was so suffer'd [suffer'd to do so] : so came I. — 2 H. IV., ii. 3. 
 
 Lest, being suffer'd [to remain] in that harmful slumber. — 2 H. VI., iii. z. 
 
 Who, being suffer'd with [to remain within reach of ] the bear's fell paw.— /J/d., v. i. 
 
 A little fire is quickly trodden out ; 
 
 Which, being suffer'd [to remain unextinguished], rivers cannot quench. — 
 3 H. VI., iv. 8. 
 
 If anything that's civil, speak; if savage. 
 
 Take [payment for what I need] or letid [it me from kindliness]. — Cym., iii. 6. 
 
 * It appears to us that Shakespeare here uses the verb "resumes" with a meaning 
 similar to the one in which the French employ their word " resume," as signifying 
 ' recapitulation,' ' summary,' or ' summing-up.' 
 
 V 
 
322 THE SHAKESPEARE KEY. 
 
 You shall enjoy them — everything set off 
 
 That might so much as think you [cause you to be thought] enemies. — 2 H. IV., iv. 1. 
 
 Marcius, 'tis true that you have lately told [foretold, predicted to] us. — Coriol., i. x. 
 
 Fpr I have ever verified [affirmed the excellence of, averred the merit of] my friends 
 (of whom he's chief). — Ibid., v. 2. 
 
 Upon which better part our prayers come in. 
 
 If thou VOUCHSAFE them [vouchsafe to accept them on the conditions stated]. — 
 yohn, iii. 1. 
 
 Vouchsafe [to accept] my labour, and long live your lordship! — Timon, i. i. 
 
 Vouchsafe [to accept or receive] good morrow from a feeble tongue. — Jul. C, ii. i. 
 • But sav. this weed [out] her love from Valentine. — Two G. of V., iii. 2. 
 
 To weed [out] my vice, and let his grow. — M.for M., iii. 2. 
 
 To weed [out] this wormwood from your fruitful brain. — Love's L. L., v. z. 
 
 Shakespeare has used several participles elliptically: — 
 
 I am as well acquainted [well off for acquaintances] here as I was in our house of 
 profession. — M.for M., iv. 3. 
 
 But your favour is well appeared [made to appear ; manifested, shown, denoted] bv 
 your tongue. — Coriol., iv. 3. 
 
 If you are arm'd [with moral strength] to do, as sworn to do. — Love's L. L., i. 1. 
 
 And am [morally] arm'd to suffer, with a quietness of spirit. — Mer. of V., iv. i. 
 
 But little: I am [morally] arm'd and well prepar'd. — Ibid., iv. i. 
 
 Glad am I that your highness is so [morally] arm'd 
 
 To bear the tidings of calamity. — R. II., iii. 2. 
 
 The quality of mercy ... is twice blessed [doubly endowed with the power of 
 blessing] — it blesseth him that gives, and him that takes. — Mer. of V., iv. i. 
 
 Ere the bat hath flown his ci^oister'd flight [flight which is taken round and round 
 through cloisters]. — Macb., iii. -^. 
 
 When he compact [for ' compacted '; joined in a compact with him], and flattering 
 his displeasure. — Lear, ii. 2. 
 
 And what says my conceal'd lady [my lady, whose being mine, together with our 
 marriage which made her mine, is concealed from the world] to our cancell'd love. — 
 R. &■ Jul., iii. 3. 
 
 That, unless a man were cursed [under a curse], I. — Tr. &• Cr., v. 3. 
 
 That, sons at perfect age, and fathers declin'd [in age], the father should be as ward 
 to the son. — Lear, i. z. 
 
 And answer me declin'd [in age and power], sword against sword, ourselves alone. — 
 Ant. &■ C, iii. 11. 
 
 Hath drawn him from his own determined aid [that aid which he himself had 
 determined to lend]. — John, ii. 2. 
 
 I pray you see hitn presently discharg'd [that my debt to him be immediately 
 discharged]. — Com. of E., iv. i. 
 
 Would we were all discharg'd [that all the debts owing to us were discharged]. — 
 Timon, ii. 2. 
 
 Because we 'II be dressed [have our wounds dressed] together. — Tw. N., v. i. 
 
 Let 's go see poor Cassio dress'd [Cassio's wounds dressed]. — 0th., v. i. 
 
 Leak'd is our barque ; 
 
 And we, poor mates, stand on the dying deck [deck crowded with men expecting 
 death] hearing the. — Timon, iv. 2. 
 
 When you were more endear'd [dearly pledged, engaged by more dear motives] to 
 it than now.— 2 H. IV., ii. 3. 
 
 The fated [fate-ordaining.] sky gives us free scope. — All's W., i. i- 
 
 Thus ornament is but the guiled [full of guile, beguiling] shore to a most dangerous 
 sea. — Mer. of V., iii. 2. 
 
ELLIPTICALLY USED WORDS. 323 
 
 Or like a creature native and indu'd [endowed with qualities that fitted her, gifted 
 with powers that qualified her] unto that element. — Hamlet, iv. 7. 
 
 Must not be shed by such, a jaded groom [a groom fit only to wait upon jades, or 
 wretched horses]. — 2 H. VI., iv. i. 
 
 He is gracious, if he be observ'd [treated with due observance]. — 2 H. IV., iv. 4. 
 
 Before the primest creature that 's paragon'd [cited as a paragon] o' the world. — 
 H. VIIL, ii. 4. 
 
 That man — how dearly ever parted [however favourably endowed with good parts, 
 however well gifted]. — Tr. &• Cr., iii. 3. 
 
 Prayers from preserved souls [souls preserved from mundane temptations], from 
 fasting maids. — M.for M., ii. z. 
 
 Things of like value, differing in the owners, are prized by their masters [are rated 
 according to the esteem in which their possessor is held]. — Timon, i. i. 
 
 Where ladies shall be frighted, and, gladly quak'd [caused to quake, made to 
 tremble], hear more. — Coriol., i. g. 
 
 The base 0' the mount is rank'd with all deserts [occupied by ranks of men of 
 various degrees in merit], all kind of — Timon, i. i. 
 
 With Tarquin's ravishing strides [strides of a ravisher], towards his design moves 
 like a ghost. — Macb., ii. 1. 
 
 Yet, by reputing [spreading the reputation] of his high desceht. — 2 H. VI., iii. i. 
 
 Best you saf'd [safely conveyed] the bringerout of the host. — Ant. &• C, iv. 6. 
 
 Thy tooth is not so keen, because thou art not seen [to be an unnatural injustice and 
 cruelty, as "man's ingratitude" is]. — As You L., ii. 7 (Song). 
 
 Wounding suppo.sed peace [peace supposed to exist, peace not really subsisting] : 
 all these bold fears. — 2 H. IV., iv. 4. 
 
 My thrice-driven bed of down [bed made of feathers which have been driven by a 
 fan, to separate the downier portions from the coarser portions]. — 0th., i. 3. 
 
 Sixth part of each ? A trembling contribution ! [contribution that may well cause 
 trembling].— H. VIII., i. 2. 
 
 The twinn'd stones [stones as like one another as tvnns] upon the number'd beach 
 [beach composed of numbers] ? — Cym., i. 7. 
 
 And leave itself unfurnished [unsupplied with the other eye — its fellow, its com- 
 panion, its partner. In our poet's time, " unfurnished " was used to signify ' unmatched,' 
 unprovided with that which forms the pair]. — Mer. of V., iii. 2. 
 
 All by the name of dogs : the valv'd file [the file or list where dogs valuable for par- 
 ticular qualities are entered : including also the meaning of the file in which dogs have 
 their several qualities valued, described, and specially stated : thus using the word 
 " valu'd " so as to combine its senses of ' esteemed ' and ' estimated '] distinguishes the 
 swift, the slow, the subtle. — Macb., iii. i. 
 
 Whereon th' imperious flood hath left a witness'd usurpation [traces that bear 
 witness to its usurpation]. — 2 H. IV., i. i. 
 
 So rare a wonder' d [wondrously gifted] father and a wife, make this place Paradise. — 
 Temp., iv. 1. 
 
 More longing, wavering, sooner lost and worn [away or out] than women's are. — 
 Tw. N., ii. 4. 
 
 These few days' wonder will be quickly worn [out ; passed away, effaced, obliterated] . 
 —2 H. VI., ii. 4. 
 
 The imminent decay of wrested pomp [pomp that has been wrested from its rightful 
 owner]. — John, iv. 3. 
 
 And Shakespeare sometimes uses pronouns elliptically \_See Re- 
 latively USED Pronouns] : — 
 
 A gift that Heaven gives for him [for his behoof, for his advantage], which buys a 
 place next. — H. VIII., i. i. 
 
 It doth much content me to hear him [that he is] so inclin'd. — Hamlet, iii. j.. 
 
 Y 2 
 
324 THE SHAKESPEARE KEY. 
 
 He does deny him, in respect of his [as respects his own fortune, in proportion 
 to that which he himself possesses], what charitable men aiTord to beggars.— 
 Timon, iii. 2. 
 
 Say, Voltimand, what [news] from our brother Norway ? — Hamlet, ii. 2. 
 
 I met a courier, one mine ancient friend ; 
 
 Whom [between whom and myself], though in general part we were opposed. 
 
 Yet our old love made a particular force. 
 
 And made us speak like friends. — Timon, v. 2. 
 
 Shakespeare sometimes employs the word " along " elliptically ; — 
 
 Bear not along [with thee] the clogging burden. — R. II., i. 3. 
 
 I'll entreat you written to bear along [with you]. — AlVs W., iii. 2. 
 
 He brings the mayor along [with him]. — R. III., iii. 3. 
 
 Will you along [with us] ? — CorioL, ii. 3. 
 
 Speak the word along [the ranks]. — jful. C, iv. 2. 
 
 Gallus, go you along [with him]. — Ant. <&■ C, v. i. 
 
 He uses the word " for" with large elliptical force : — 
 
 Yet here they shall not lie for [fear of] catching cold. — Two G. of V., i. 2. 
 
 For [fear of] going on death's net. — Per., i. i. 
 
 For [fear of] blunting the fine point of seldom pleasure. — Sonnet 52. 
 The duke cannot deny the course of law. 
 For [the sake of] the commodity that strangers have 
 With us in Venice. — Mer. of V., iii. 3. 
 I know no personal cause to spurn at him, 
 But /or [the sake of] the general. — yul. C, ii. 1. 
 
 Patience, good sir, even for [the sake of] this charge. — Per., iii. i. 
 
 Am st3.rv'd for [want of] meat. — Tam. of S., iv. 3. 
 A nursery to our gentry, who are sick 
 For [want of] breathing and exploit. — All's W., i. 2. 
 
 All out of work, and co\d for [want of] action. — H. V., i. 2. 
 
 Who, almost dead for [want of] breath. — Macb., i. 5. 
 
 To prepare the vifays you have /or [procuring] dignities. — H. VIII., iii. 2. 
 
 That I should purchase the day before for [the amount of] a little part, and undo 
 a great deal of honour ! — Timon, iii. 2. 
 
 Would half my wealth would buy this/or [the amount of] a lie l^Coriol., iv. 6. 
 
 Men did ransom lives of me [in repayment] /or jests. — Ant. <&> C, iii. 11. 
 
 So bad a prayer as his was never yet [a precursor] /or sleep. — Ibid., iv. g. 
 
 One way or other, she is [fit] /or a king. — 3 H. VI., iii. .i. 
 
 A hilding [fit] /or a livery. — -Cym., ii. 3. 
 
 Bring in our daughter, clothed like a bride, 
 
 [Fit] For the embracements even of Jove himself. — Per., i. i. 
 
 More of thee merited than a band of Clotens 
 
 Had ever scar/or [entitling them to claim]. — Crm., v. 5. 
 
 He also occasionally uses " from " elliptically : — 
 
 She [coming, or, on our way] from whom we all were sea-swallowed, though some 
 ca't again. — Temp., ii. 1. 
 
 I have, sir, as I was commanded [by the messenger who came] from you, spoke 
 with the king. — All's W., ii. 5. 
 
 Orsino, this is that Antonio 
 
 That took the Phoenix and her fraught [coming, or, on her way] from Candy. — 
 Tw. N., v. I. 
 
 The king is coming; and I must speak with him [coming, or, on my way] /ro7» the 
 pridge. — H. V., iii. 6. 
 
EMPHASIS. 325 
 
 The seven-fold shield of Ajax cannot keep [in] 
 
 The battery [proceeding, or, that comesj from my heart. Oh, cleave my sides ! 
 Heart, once be stronger than thy continent, 
 Crack thy frail case. — Ant. & C. iv. 12. 
 He liv'd [free]/roii; all attainder of suspect. — R. III., iii. 5. 
 
 Will this hold, think you ? — Signior lachimo will not [withdraw, or, retract] from it. — 
 Cyin., i. 5. 
 The noise is round about us. — Let us [withdraw, or, move away] from it. — Ibid., iv. 4. 
 [Go, or, be away] From me awhile. — Ant. 6* C, iv. 12. 
 
 In the following two passages " no " is used with elliptical force : — 
 How might she tongue me! Yet reason dares her no. — M. for M., iv. 4. 
 
 " Dares her no " implying ' bids her not dare to do it.' 
 
 How tastes it ? is it bitter ? forty pence, no. — H. VIII., ii. 3. 
 
 " Forty pence, no " implying ' I '11 wager forty pence that it is not.' 
 Shakespeare occasionally uses the word "none" with much elliptical 
 force of eifect, and with such inclusive signification that some commen- 
 tators have either missed his meaning, or proposed alteration in the 
 phrases wherein it occurs. For instance, the phrase in the first of the 
 two following passages has been explained to mean ' none else would 
 be so simple ' ; whereas, we think, if the context be duly considered, 
 our interpretation will be found to be the right one : — 
 
 For, without you were so simple, none else would [no one would perceive these love- 
 tokens in you but myself]. — T'u'o G. of V., ii. x. 
 
 Some rise by sin, and some by virtue fall ; 
 
 Some run from brakes of vice, and answer none [' without having to answer for any 
 vicious courses '] ; 
 
 And some condemned for a fault alone. — M.for M., ii. i. 
 
 EMPHASIS. 
 
 There are several passages in ShakeSpeare's plays where a word must 
 be emphasised in order to develop the full meaning of the sentence. 
 He, as a writer for the stage and a thorough master of declamation, 
 knew the effect produced by this, and the force therein contained ; and 
 consequently his practice should be borne in mind for the due compre- 
 hension of certain phrases, such as the following : — 
 
 Will 't hold ? will 't hold ? — It does ; but time will — and so — I do conceive. — 
 Tinion, iii. 6. 
 
 We '11 consecrate the steps that Ajax makes 
 
 When they ^afrom Achilles. — Tr. &• Cr., ii. 3. 
 
 They know your grace hath cause and means and might : 
 
 So hath your highness ; never king of England 
 
 Had nobles richer and more loyal subjects. — H. V., i. z. 
 
 Her love is not the hare that I do hunt. — As You L., iv. 3. 
 
 Put up thy gold : go on — here 's gold — go on. — Timon, iv. 3. 
 
 Go, counsellor ; 
 Thou and my bosom henceforth shall be twain. 
 I '11 to the friar, to know his remedy. — R. &• Jul., iii. 5. 
 
326 THE SHAKESPEARE KEY. 
 
 O, stand up bless'd ! 
 Whilst, with no softer cushion than the flint, 
 / kneel before thee ; and unproperly 
 Show duty, as mistaken all this while 
 Between the child and parent. — Coriol, v. 3. 
 
 Dost thou think 
 /'ll grace thee with that robbery, thy stol'n name 
 Coriolanus in Corioli ? — Ibid., v. 5. 
 Am / like such a fellow ? — R. &• Jul., iii. i. 
 Thou canst not say / did it. — Macb., iii. 4. 
 
 In the above line, as in some others, Shakespeare has actually 
 emphasised a monosyllable where the rhythmical accent does not, 
 strictly speaking, lie ; thus producing doubly impressive effect. 
 
 Why with some little train, my lord of Buckingham ? — R. III., ii. ^s 
 
 Nay, but hear me. — Nay but hear me. — W. T., iv. 3. 
 
 What, art thou angry, Pandarus ? what, with me ! — Tr. &• Cr., i. i. 
 
 What, with me too, Thersites ? — Ibid., ii. i. 
 
 Who 's there ? — 
 
 Nay, answer me : stand, and unfold yourself. — Hamlet, i. i. 
 
 Oh, will you eat no grapes, my royal fox ? 
 
 Yes, but you will, my noble grapes, an if 
 
 My royal fox could reach them. — All's W., ii. i. 
 Now, Jove, in his next commodity of hair send thee a beardi — By my troth, I '11 tell 
 thee — I am almost sick for one ; though I would not have it grow on my chin. — 
 Tw. N., iii. I. 
 
 Look to your babe, my lord ; 'tis yours : — ... 
 
 My child ? away with 't ! — W. T., ii. 3. 
 
 Thou say'st the king grows mad ; I '11 tell thee, friend, 
 
 I am almost mad myself: I had a son. 
 
 Now outlaw'd from my blood ; he sought my life . . . 
 
 The grief hath craz'd my wits. — Lear, iii. 4. 
 You know me by my habit. — Well, then, I know thee ; what shall I know of thee ? — 
 My master's mind. — H. V., iii. 6. 
 
 Unto bad causes swear 
 
 Such creatures as men doubt : but do not stain 
 
 The even virtue of our enterprise. — Jid. C, ii. 1. 
 
 Say, if thou 'dst rather hear it from our mouths. 
 
 Or from our masters' ? — Macb., iv. i. 
 
 Shall we see this wrestling, cousin ? — As You L., i. 2. 
 
 Mark Antony shall say I am not well ; 
 
 And, for thy humour, I will stay at home. 
 
 Here 's Decius Brutus, he shall tell them so. — Jul. C, ii. 2. 
 
 Be bright and jovial among your guests to-night. — 
 
 So shall I, love ; and so, I pray, be you. — Macb., iii. 2. 
 
 He that will give good words to thee, will flatter 
 
 Beneath abhorring. — Coriol., i. i. 
 
 I sell thee poison, thou hast sold me none. — R. &• jful., v. 1. 
 
 Howbeit they would hold up this salique law 
 
 To bar your highness claiming from the female ; 
 
 And rather choose to hide them in a net. 
 
 Than amply to imbar their crooked titles 
 
 Usurp'd from you and your progenitors. — H. V., i. 2. 
 
 Why should I play the Roman fool, and die 
 
 On mine own sword ? Whiles I see lives, the gashes 
 
 Do better upon them. — Macb., v. 7. 
 
EMPHASIS. 327 
 
 There are verier knaves desire to live, for all he be a Roman : and there be some of 
 them too, that die against their wills ; so should I, if I were one. — Cym., v. 4. 
 
 I '11 graff it with you, and then I shall graff it with a medlar : then it will be the 
 earliest fruit i' the country As You L., iii. 2. 
 
 And oft 'tis seen, the wicked prize itself 
 
 Buys out the law : but 'tis not so above ; 
 
 There is no shuffling, — there the action lies 
 
 In his true nature. — Hamlet^ iii. 3. 
 
 I shall, king Harry : and so, fare thee well : 
 
 Thou never shalt hear herald any more. — 
 
 I fear, thou'lt once more come again for ransom. — H. V., iv. 3. 
 
 Thy half o' the kingdom hast thou not forgot. 
 
 Wherein I thee endow'd. — Lear, ii. 4. 
 
 Nor none of thee, thou pale ana common drudge 
 
 'Tween man and man ; but thou, thou meagre lead, 
 
 Which rather threatenest than dost promise aught. 
 
 Thy paleness moves me more than eloquence. —il/ej". of V., iii. i. 
 With a true heart 
 
 And brother-love I do it. — 
 
 And let Heaven 
 
 Witness, how dear I hold this confirmation. — 
 
 Good man, those joyful tears show thy true heart. — H. VIII., v. 2. 
 
 Was 't you that did so oft contrive to kill him ? — 
 
 'T'was I ; but 'tis not I : I do not shame 
 
 To tell you what I was, since my conversion 
 
 So sweetly tastes, being the thing I am. — As You L., iv. 3. 
 
 How many be there of them ? — Some eight, or ten. — 
 
 Zounds j will they not rob us? — i H. IV., ii. 2. 
 
 What is the matter, 
 
 That being pass'd for consul with fall voice, 
 
 I am so dishonour'd that the very hour 
 
 You take it oif again ? — 
 
 Answer to us. — CorioL, iii. 3. 
 
 The thane of Cawdor lives : why do you dress me 
 
 In borrow'd robes ? — 
 
 Who was the thane, lives yet ; 
 
 But under heavy judgment bears that life 
 
 Which he deserves to lose.— Moci., i. 3. 
 
 This was your husband : look you now, what follows : 
 
 Here is your husband. — Hamlet, iii. 4. 
 
 And he 's as like to do 't as any man I can imagine. — 
 
 Do 't ! he will do 't. — CorioL, iv. 5. 
 Why, Sir John, do you think, though we would have thrust virtue out of our hearts 
 by the head and shoulders, and have given ourselves without scruple to hell, that ever 
 the devil could have made_)-oi( our delight? — Merry W., v. 5. 
 
 No, I '11 none oiyou. — Why, my sweet lord ? — You '11 kiss me hard, and speak to me 
 as if I were a baby still. I love you better. — W. T., ii. i. 
 
 There 's for you, Patroclus. — Tr. &• Cr., ii. 1. 
 
 Pray get you out. — Away ! — Away ! Get you away. — CorioL, iv. 5. 
 Welcome, Publius. 
 
 What ! Brutus, are you stirr'd so early too ? — yul. C, ii. 2. 
 
 His private arbours, and new-planted orchards, 
 
 On this side Tiber ; he hath left them you, 
 
 And to your heirs for ever. — Ibid., iii. 2. 
 
 My lord, I have news to tell you. — 
 
 My lord, I have news to tell you. — Hamlet, ii. ^. 
 
 A great deal oiyour wit, too, lies in your sinews. — Tr. &• Cr., ii. i. 
 
 Your good voice, sir; what say you? — CorioL, ii. 3. 
 
328 THE SHAKESPEARE KEY. 
 
 ENIGMATICAL PHRASEOLOGY, 
 
 Shakespeare sometimes makes his personages express themselves 
 obscurely or ambiguously for the sake of characteristic effect. Into 
 Helena's mouth he has put markedly veiled language ; denoting the 
 struggles of a secret passion to conceal itself, with the occasional irre- 
 pressible betrayals of its existence, taking the shape of enigmatical 
 sentences and hinted meanings : — 
 
 Helena. I do affect a sorrow, indeed ; but I have it too. — All's IF., i. i. 
 
 While giving the effect of a reply to the Countess's reproof, these 
 words really signify, ' I allow my sorrow to pass for regret at my father's 
 death ; but I have it really for my inauspicious love, and for Bertram's 
 approaching departure.' 
 
 Helena. If the living be enemy to the grief, the excess makes it soon mortal [See 
 Crossing Speeches for our explanation of this speech]. — Ibid., i. i. 
 
 Helena. Not my virginity yet. 
 There shall your master have a thousand lo'>"cs. 
 A mother, and a mistress, and a friend, 
 A phcenix, captain, and an enemy, 
 A guide, a goddess, and a sovereign, 
 A counsellor, a traitress, and a dear; 
 His humble ambition, proud humility, 
 His jarring concord, and his discord dulcet. 
 His faith, his sweet disaster ; with a world 
 Of pretty, fond, adoptious Christendoms, 
 That blinking Cupid gossips. Now shall he — 
 I know not what he shall : — God send him well . — 
 The court's a learning-place ; and he is one — 
 
 ParoUes. What one, i' faith ? 
 
 Helena. That I wish well. — Ibid., i. i. 
 
 By her words "the court's a learning-place'' Helena implies that 
 the word " there " at the commencement of her riddle-like speech, 
 refers to " the court"; whereas we believe her word " there" signifies, 
 her own maiden self dedicated in fulness of affection to him she loves, 
 even though he should never accept the gift. 
 
 Countess. What 's the matter, 
 
 That this distemper'd messenger of wet. 
 The many-colour'd Iris, rounds thine eye ? 
 Why — that you are my daughter ? 
 
 Helena. That I am not. — Ibid., i. 3. 
 
 By these four monosyllables Helena, while seeming to regret that she 
 is only the Countess's daughter by affection, really deplores that she is 
 not her daughter by marriage with her son. 
 
 Helena. Why, then, to-night 
 
 Let us assay our plot ; which, if it speed. 
 Is wicked meaning in a lawful deed. 
 And lawful meaning in a lawful act ; 
 Where both not sin, and yet a sinful fact. — Ibid., iii. 7. 
 
 Helena thus, with characteristically enigmatic words, declares that 
 her husband intending wickedly will act lawfully ; that she will intend 
 lawfully and act lawfully; and that they both will commit no sin, while 
 seeming to do so. At a subsequent point of the play, Helena again 
 
ENIGMATICAL PHRASEOLOGY. 329 
 
 uses characteristically veiled language, delicate in expression, yet fervid 
 in feeling and imagination [See Soliloquies forthe passage commencing 
 " But, 0, strange men "] ; and there is another instance cited under 
 the same heading f^See Soliloquies for the passage commencing 
 " Affection ! thy intention stabs the centre"] which contains example 
 of our poet's peculiar power of writing forcible meaning in the most 
 shrouded language. 
 
 Duke. Thou dost speak masterly : 
 My life upon 't, young though thou art, thine eye 
 Hath stay'd upon some favour that it loves ; — 
 Hath it not, boy ? 
 
 Viola. A little, by your favour. — Tw. N., ii. 4. 
 
 This reply, seemingly signifying ' a little, by your leave,' hiddenl}- 
 expresses ' I have suffered mine eye to rest upon your own countenance 
 (or " favour ") at moments when your not perceiving me has favoured 
 my looking upon you.' 
 
 Duke. But died thy sister of her love, my boy ? 
 Viola. I am all the daughters of my father's house. 
 And all the brothers too ; and yet I know not. — Ibid., ii. 4. 
 
 Here the gentle girl-page answers so as to convey the effect of her 
 averring that there are no female survivors in her family, and that she 
 has no brother living, while she really owns herself to be the onl)- 
 daughter of her father and disclaims being his son. 
 
 Olivia. Stay : I pr'ythee, tell me what thou think'st of me. 
 
 Viola. That you do think you are not what you are. 
 
 Olivia. If I think so, I think the same of you. 
 
 Viola. Then think you right : I am not what I am. 
 
 Olivia. I would you were as I would have you be ! 
 
 Viola. Would it be better, madam, than I am, 
 I wish it might ; for now I am your fool. . . 
 By innocence I swear, and by my youth, 
 I have one heart, one bosom, and one truth — 
 And that no woman has ; nor never none 
 Shall mistress be of it, save I alone. — Ibid., iii. i 
 
 In the whole of this dialogue, Viola charmingly reveals to us, who 
 are in her secret, her womanhood, while she merely seems, to OHviaj 
 confessing her inability to return the lady's avowed preference. 
 
 Portia. I pray you, tarry : pause a day or two 
 Before you hazard ; for, in choosing wrong, 
 I lose your company : therefore, forbear awhile. 
 There 's something tells me (but it is not love), 
 I would not lose you ; and you know yourself. 
 Hate counsels not in such a quality. 
 But lest you should not understand me well 
 (And yet a maiden hath no tongue but thought), 
 I would detain you here some month or two, 
 Before you venture for me. I could teach you 
 How to choose right, but then I am forsworn ; 
 So will I never be : so may you miss me ; 
 But if you do, you '11 make me wish a sin. 
 That I had been forsworn. Beshrew your eyes. 
 They have o'erlook'd me, and divided me ; 
 One half of me is yours, the other half yours — 
 
330 THE SHAKESPEARE KEY. 
 
 Mine/)wn, I would say ; but if mine, then yours, 
 And so all yours ! 0, these naughty times 
 Put bars between the owners and their rights ! 
 And so, though yours, not yours. — Mer. of V., iii. 2. 
 
 Bewitchingly true is this speech to womanly nature in its grace and 
 archness : disclaiming love, yet letting love be seen in every phrase of 
 playful riddling half-confession. 
 
 Lady Capulei. Evermore weeping for your cousin's death ? . 
 
 Juliet. Yet let me weep for such a feeling loss. 
 
 Lady Capulet. So shall you feel the loss, but not the friend 
 Which you weep for. 
 
 Jidiet. Feeling so the loss, 
 
 I cannot choose but ever weep the friend. 
 
 Lady Capulei. Well, girl, thou weep'st not so much for his death, 
 As that the villain lives which slaughter'd him. 
 
 Juliet. What villain, madam ? 
 
 Lady Capulet. That same villain, Romeo. 
 
 Juliet. Villain and he be many miles asunder. 
 God pardon him ! I do, with all my heart ; 
 And yet no man, like he, doth grieve my heart. 
 
 Lady Capulet. That is, because the traitor murderer lives. 
 
 Juliet. Ay, madam, from the reach of these my hands : 
 Would none but I might venge my cousin's death ! 
 
 Lady Capulet. We will have vengeance for it. fear thou not : 
 Then weep no more. I '11 send one to Mantua — 
 Where that same banish'd runagate doth live — 
 Shall give him such an unaccustom'd dram, 
 That he shall soon keep Tybalt company ; 
 And then, I hope, thou wilt be satisfied. 
 
 Juliet. Indeed, I never shall be satisfied 
 With Romeo, till I behold him — dead — 
 Is my poor heart so for a kinsman vex'd : 
 Madam, if you could find out but a man 
 To bear a poison, I would temper it ; 
 That Romeo should, upon receipt thereof. 
 Soon sleep in quiet. O, how my heart abhors 
 To hear him nam'd^ — and cannot come to him. 
 To wreak the love I bore my cousin Tybalt 
 Upon his body that hath slaughter'd him ! — R. &■ Jul., iii. 5. 
 
 These shifts and evasions of speech are precisely such as a young 
 Italian girl, brought up in fear ,of her parents rather than in loving- 
 confidence with them, would instinctively use, when pressed to despera- 
 tion by a passion of love and grief. 
 
 Fool. For you trow, nuncle, 
 The hedge-sparrow fed the cuckoo so long. 
 That it had its head bit off by its young. 
 
 So out went the candle, and we were left darkling. — Lear, i. 4. 
 Fool. Winter 's not gone yet, if the wild geese fly that way. 
 Fathers that wear rags 
 
 Do make their children blind ; 
 But fathers that bear bags 
 
 Shall see their children kind. 
 Fortune, that arrant whore. 
 Ne'er turns the key to the poor. 
 But, for all this, thou shalt have as many dolours for thy daughter as thou canst 
 tell in a year. — Ibid., ii. 4. 
 
 Fool. — We '11 set thee to school to an ant, to teach thee there's no labouring i' the 
 winter. All that follow their noses are led by their eyes, but blind men ; and there 's 
 
ENIGMATICAL PHRASEOLOGY. 33^ 
 
 not a nose among twenty but can smell him that 's stinking. Let go thy hold when a 
 great wheel runs down a hill, lest it break thy neck with following it ; but the great 
 one that goes up the hill, let him draw thee after. When a wise man gives thee better 
 counsel, jjive me mine a^ain : I would have none but knaves follow it, since a fool 
 gives it. 
 
 That sir which serves and seeks for gain, 
 
 And follows but for form, 
 Will pack when it begins to rain. 
 
 And leave thee in the storm. 
 But I will tarry ; the fool will stay. 
 
 And let the wise man fly : 
 The knave turns fool that runs away ; 
 The fool no knave, perdy. — Lear, ii. 4. 
 
 By such scraps of figuratively enigmatic sarcasm and worldly-wise 
 precept, Lear's Fool marks his sense of his old master's ill-usage. In 
 the last of the three above-cited passages, the line "the knave turns fool 
 that runs away" has been thought erroneous by some commentators ; 
 who propose that "knave" and "fool" should be transposed. But we 
 think that Shakespeare, in his own noble philosophy, here affirms that 
 the cunning rogue who deserts his benefactor in the time of reverse, 
 from motives of prudence, shows himself fool as well as knave — moral 
 miscalculator as well as moral coward. 
 
 Occasionally, for the sake of characteristic effect, Shakespeare gives 
 purposely confused or obscure diction \_See Peculiar Construc- 
 tion] : — 
 
 Edmund. In wisdom, I should ask thy name ; 
 
 But, since thy outside looks so fair and warlike. 
 
 And that thy tongue some 'say of breeding breathes, 
 
 What safe and nicely I might well delay 
 
 By rule of knighthood, I disdain and spurn : 
 
 Back do I toss these treasons to thy head ; 
 
 With the hell-hated lie o'erwhelm thy heart ; 
 
 Which — for they yet glance by, and scarcely bruise — 
 
 This sword of mine shall give them instant way, 
 
 Where they shall rest for ever. — Ibid., v. 3. 
 
 The above speech is worded in just that incoherent manner which 
 would characterise a man enraged at finding himself denounced as a 
 villain, and conscious that he is one; while the following speech is 
 couched in exactly such inexplicit terms, such half-expressed, half-sup- 
 pressed suggestions, as serve to whet his hearer's desire to hear more : — 
 
 lago. I do beseech you — 
 
 Though I perchance am vicious in my guess. 
 As, I confess, it is my nature's plague 
 To spy into abuses, and oft my jealousy 
 Shapes faults that are not — that your wisdom yet, 
 From one that so imperfectly conceits, 
 Would take no notice ; nor build yourself a trouble 
 Out of his scattering and unsure observance. 
 It were not for your quiet nor your good, 
 Nor for my manhood, honesty, or wisdom. 
 To let you know my thoughts. — 0th., iii. 3. 
 
 A remarkable instance of a speech overlaid with confusing casuis- 
 tical intervolvments and specious argumentation, for the purpose of 
 sophistically perplexing the mind of the person addressed, is cited at 
 
332 THE SHAKESPEARE KEY. 
 
 full under our heading of Repeated Words. It is the speech beginning 
 thus : — 
 
 So mak'st thou faith an enemy to faith ; &c. — John. iii. i. 
 
 Shakespeare puts a riddling speech of purposedly obscure expression 
 into the Danish prince's mouth, where he is seeking to puzzle and 
 mislead the two courtierly spies, Rosencrantz and Guildenstern : — 
 
 Roscncrantz. My lord, you must tell us where the body is, and go with us to the king. 
 Hamlet. The body is with the king, but the king is not with the body. The king is 
 a thing — 
 
 Guililciistcni. A thing, my lord ! 
 
 Hamlet. Of nothing : bring me to him. — Hamlet, iv. .:. 
 
 Our interpretation of the above riddle is — ' Materiality and corporeal 
 grossness characterise the king ; but the king has no real or virtuous 
 substance, no genuine matter in him : he is a thing of naught, a mere 
 worthless nonentity.' 
 
 Here come I from my princely general 
 
 To know your griefs ; to tell you from his grace. 
 
 That he will give you audience ; and wherein 
 
 It shall appear that your demands are just. 
 
 You shall enjoy them — everything set off 
 
 That might so much as think you enemies. — 2 H. IV., iv. i. 
 
 The concluding phrase of the last-cited speech is so ambiguously 
 expressed as to bear several interpretations ; therein precisely serving 
 the purpose of the speaker. It may mean ' everything set apart, cast 
 out, thrown forth, acquitted, excluded, or excepted, that might so much 
 as cause you to be thought enemies' ; or may mean, ' everything counter- 
 balanced, rendered account for, or yielded retribution for, that might so 
 much as cause you to be thought enemies.' 
 
 Romeo. Alas ! that love, whose view is muffled still. 
 Should, without eyes, see pathways to his icill ! 
 Where shall we dine ? Oh, me ! What fray was here ? 
 Yet tell me not, for I have heard it all. 
 Here's much to do with hate, but more with love. — R. & Jul., i. i. 
 
 The two sentences we have italicised in the above-quoted passage 
 are spoken by Romeo in enigmatical fashion, according to his then 
 mood. The first sentence comprises double meaning; and signifies not 
 only, 'Alas! that the blind god should be able to shoot so surely!' but 
 also, 'Alas! that love, notwithstanding its muffled sight, should be 
 able blindfold to find its way to its object!' 
 
 The second sentence also includes two meanings; that the fray has 
 much to do with the hate between the rival houses, yet affects him 
 more, inasmuch as his Rosaline is a member of the Capulet family;* 
 and likewise that while the fray exhibits the animosity which divides 
 the two factions, it at the same time denotes the anxious affection felt 
 on his account by his father and by his friend Benvolio. 
 
 Antony. You do mistake your business; my brother never 
 Did urge rae in his act ; I did inquire it ; 
 And have my learning from some true reports, 
 That drew their swords with you. Did he not rather 
 Discredit my authority with yours ; 
 
 * This point is traceable from the list of guests invited to Capulet's ball. 
 
ENIGMATICAL PHRASEOLOGY. 333 
 
 And make the wars alike against my stomach, 
 Having aUke your cause ? Of this my letters 
 Before did satisfy you. If you '11 patch a quarrel, 
 As matter whole you have to make it with. 
 It must not be with this. — Ant. &• C, ii. z. 
 
 The concluding sentence means, ' If you wish to botch up a quarrel, 
 as you have whole and sound matter to make it good with, you must 
 not use such flimsy stuff as this.' The speaker purposely uses equivocal 
 phraseology here; Antony allowing Csesar to understand either. 'If 
 you desire to pick a quarrel with me, you could find stronger ground for 
 basing it upon than these frivolous causes of complaint,' or, ' If you 
 wish to make up the quarrel between us, you have better means of 
 doing so than by ripping up these trivial grievances.' 
 
 Justice, and your father's wrath, should he take me in his dominion, could not be so 
 cruel to me, as you, oh, the dearest of creatures, would even renew me with your eyes. 
 — Cym., iii. 2 (Letter). 
 
 The phraseology of this sentence is purposely obscure and enig- 
 matical, and conveys a double idea. One is intended by the writer of 
 the letter to be obvious to the person addressed — his wife ; ' could not 
 so cruelly wound but that the. sight of you could cure and revive me ! ' 
 the other is perceptible to the reader of the play ; ' could not be so cruel 
 to me as you have been ' [in the supposed wrong that Imogen has done 
 Posthumus]. 
 
 In the last-cited passage, and in the one from " Romeo and Juliet,' 
 where the heroine says, "I never shall be satisfied with Romeo, till I 
 behold him — dead — is my poor heart," &c., there are instances of 
 ambiguous or duplicate meaning given to a sentence by peculiar or 
 wrong punctuation ; so in the following passage, a similar effect 
 is similarly produced : — 
 
 Prologue. If we offend, it is with our good will. 
 That you should think, we come not to offend. 
 But with good will. To show our simple skill. 
 That is the true beginning of our end. 
 Consider, then, we come but in despite. 
 We do not come as minding to content you. 
 Our true intent is. All for your delight, 
 We are not here. That you should here repent you. 
 The actors are at hand; and, by their show, 
 You shall know all, that you are like to know. — Mid. N. D., v. i. 
 
 In the following passage, Shakespeare has given us a specimen of a 
 speech, humorously obscure and confused ; where the speaker gets 
 bewildered and entangled in an attempt at lucid explanation : — 
 
 Bardolph. Sir, pardon ; a soldier is better accommodated than with a wife. 
 
 Shallow. It is well said, in faith, sir; and it is well said indeed too. Better accom- 
 modated i it is good ; yea, indeed is it : good phrases are surely, and ever were, very 
 commendable. Accommodated ! it comes of accoinniodo : very good ; a good phrase. 
 
 Bardolph. Pardon me, sir ; I have heard the word. Phrase, call you it ? By this 
 good day, I know not the phrase ; but I will maintain the word with my sword to be a 
 soldierlike word, and a word of exceeding good command, by heaven. Accommodated : 
 that is, when a man is, as they say, accommodated ; or, when a man is — being — 
 whereby — he may be thought to be accommodated ; which is an excellent thing. — 
 2 H. IV., iii. 2. 
 
334 THE SHAKESPEARE KEY. 
 
 FAMILIAR AND HOMELY EXPRESSIONS. 
 
 In many passages, Shakespeare uses words and phrases of the most 
 simple description ; so much so, that they have been denounced as too 
 plain, too common, too undignified for the demands of poetic diction: 
 but we think that in every case where objection has been thus taken, 
 the word or phrase which our poet has employed, will be found, upon 
 due examination and reflection, to have peculiar fitness ; either by reason 
 of its appropriate simplicity, its characteristic effect, or its dramatic 
 purpose — all of which render it, in its way, poetical: — 
 
 Be of good cheer, youth : you a man ? you lack a man's heart. — I do so, I confess 
 it. Ah! sirrah, a body would think this was well counterfeited: I pray you, tell 
 your brother how well I counterfeited. Heigh-ho ! — As You L., iv. 3. 
 
 Nor heaven peep through the blanket of the dark, 
 
 To cry, " Hold, hold ! "—Macb., i. 5. 
 
 Your commendations, madam, get from her tears. — 
 
 'Tis the best brine a maiden can season her praise in. — All's W., i. i. 
 
 Jesu Maria, what a deal of brine 
 
 Hath wash'd thy sallow cheeks for Rosaline ! 
 
 How much salt water thrown away in waste, 
 
 To season love, that of it doth not taste ! — R. &• Jul., ii. 3. 
 But for our gentlemen. 
 
 The common file (a plague ! tribunes for them !), 
 
 The mouse ne'er shunn'd the cat as they did btidge 
 
 From rascals worse than they. — Coriol., i. 6. 
 
 He that 's coming 
 
 Must be provided for : and you shall put 
 
 This night's great business into my despatch. — Macb., i. 5. 
 
 We will proceed no farther in this business. — Ibid., i. 7. 
 
 Masking the business from the common eye, 
 
 For sundry weighty reasons. —Ibid., iii. i. 
 
 Here burns my candle out — ay, here it dies, 
 
 \\'hich, whiles it lasted, gave king Henry light. — 3 H. VI., ii. 6. 
 Out, out, brief candle ! 
 
 Life 's but a walking shadow. — Macb., v. 5. 
 
 For, by these blessed candles of the night. — Mer. ofV.,v. i . 
 
 Night's candles are burnt out, and jocund day 
 
 Stands tiptoe on the misty mountain-tops. — R. &• Jul., iii. 5. 
 There 's husbandry in heaven. 
 
 Their candles are all out. — Macb., ii. i. 
 
 Full thirty times hath Phoebus' cart* gone round 
 
 Neptune's salt wash and Tellus' orbed ground. — Hamlet, iii. 2. 
 Thou hast never in thy life 
 
 Show'd thy dear mother any courtesy ; 
 
 When she (poor hen), fond of no second brood, 
 
 Has cluck'd thee to the wars, and safely home, 
 
 Loaden with honour. — Coriol., v. 3. 
 
 Is this a dagger which I s^e before me, 
 
 The handle toward my hand ? Come, let me clutch thee : 
 
 I have thee not, and yet I see thee still. — Macb., ii. i. 
 
 What ! will the line stretch out to the crack of doom ? — Ibid., iv. i . 
 
 I say, Csesar, Antony is dead. — 
 
 The breaking of so great a thing should make 
 
 * " Cart" was formerly sometimes used for ' car' or ' chariot.' 
 
FAMILIAR AND HOMELY EXPRESSIONS. 335 
 
 A greater crack : the round world 
 Should have shook lions into civil streets, 
 And citizens to their dens. — Ant. &• C, v. i. 
 
 The fire, and cracks 
 Of sulphurous roaring, the most mighty Neptune 
 Seem to besiege, and make his bold waves tremble. 
 Yea, his dread trident shake. — Temp., i. 2. 
 If I say sooth, I must report they were 
 As cannons overcharg'd with double cracks. — Macb., i. 2. 
 
 Confederates 
 (So dry he was for sway) with the King of Naples 
 To give him annual tribute, do him homage. — Temp., 1. 2. 
 But I remember, when the fight was done, 
 When I was dry with rage and extreme toil. 
 Breathless and faint, leaning upon my sword, 
 Came there a certain lord, neat, trimly dress'd 
 Fresh as a bridegroom. — i H. IV., i. 3. 
 Visit by night your lady's chamber-window 
 With some sweet consort ; to their instruments 
 Tune a deploring rfam^ ;* the night's dead silence ... 
 
 Will well become such sweet complaining grievance. — Two G. 0/ K., ni. 2. 
 
 Come, thick night. 
 And pall thee in the dunnest smoke of hell. — Macb., i. 5. 
 
 " Dunnest " has been stigmatised as a.7nean epithet ; to our thinking 
 it is full of poetic truth and impressiveness, conveying the effect of 
 darkest and grimmest colour. 
 
 To-morrow, and to-morrow, and to-morrow. 
 Creeps in this petty pace from day to day. 
 To the last syllable of recorded time ; 
 And all our yesterdays have lighted fools 
 The way to dusty death. — Ibid., v. 5. 
 Before he should thus stoop to the herd, but that 
 The violent fit 0' the time craves it as physic 
 For the whole estate, I would put mine armour on. 
 Which I can scarcely bear. — CorioL, iii. 2. 
 But, for your husband, 
 He is noble, wise, judicious, and best knows 
 The fits the season. — Macb., iv. 2. 
 
 Cold, cold, my girl ! 
 Even like thy chastity. — 0th., v. 2. 
 
 Who would fardels bear, 
 To grunt and sweat under a weary life. — Hamlet, iii. i. 
 Hark, in thine ear : change places ; and, handy-dandy, which is the justice, which 
 is the thief? — Lear, iv. 6. 
 
 His incensement at this moment is so implacable, that satisfaction can be none 
 but by pangs of death and sepulchre : hob, nob, is his word ; give 't or take 't- — 
 Tw. N., iii. 4. 
 Losses, that have of late so huddled on his back. — Mer. of V., iv. i. 
 Huddling jest upon jest, with such impossible conveyance upon me. — M. Ado, ii. i. 
 
 The people muddied. 
 Thick and unwholesome in their thoughts and whispers. 
 For good Polonius' death ; and we have done but greenly. 
 In hugger-mugger to inter him. — Hamlet, iv. 5. 
 That skull had a tongue in it, and could sing once : how the knave jowls it to the 
 ground, as if it were Cain's jaw-bone, that did the first murder. — Ibid., v. i. 
 
 * Originally a grave term for a melancholy strain or ditty. 
 
336 THE SHAKESPEARE KEY. 
 
 'Twixt my extremes and me this bloody knife 
 Shall play the umpire. — R. &> Jul., iv. i. 
 
 Come thick night, 
 And pall thee in the dunnest smoke of hell, 
 That my keen knife see not the wound it makes. — Macb., i. 5. 
 
 By the clock, 'tis day. 
 And yet dark night strangles the travelling lamp.— Ibid., ii. 4. 
 
 He fishes, drinks, and wastes 
 The lamps of night in revel. — Ant. &• C, i. 4. 
 
 Let the great gods, 
 That keep this dreadful pother o'er our heads, 
 Find out their enemies now. — Lear, iii. 2. 
 
 Something, sure, of state, — 
 Either from Venice, or some unhatch'd practice 
 Made demonstrable here in Cyprus to him, — 
 Hath puddled his clear spirit. — 0th., iii. 4. 
 
 O, from Italy ! 
 Ram* thou thy fruitful tidings in mine ears. 
 That long time have been barren. — Ant. &■ C, ii. 4. 
 Since God so graciously hath brought to light 
 This dangerous treason, lurking in our way 
 To hinder our beginnings, we doubt not now 
 But every rtib is smoothed on our way. — H. V., ii. 2. 
 
 To die, — to sleep ; — 
 To sleep ! perchance to dream ; — ay, there 's the rub. — Hamlet, iii. i. 
 Madam, we '11 play at bowls — 
 'Twill make me think the world is full of rubs, 
 And that my fortune runs against the bias. — R. II., iii. 4. 
 
 His captain's heart. 
 Which in the scutes of great fights hath burst 
 The buckles on his breast. — Ant. &• C, i. i. 
 Will you shog off ? I would have you solus. — H. V., ii. i. 
 Shall we shog? the king will be gone from Southampton. — Ibid., ii. 3. 
 Slubber not business for my sake, Bassanio. — Mer of V., ii. 8. 
 You must therefore be content to slubber the gloss of your new fortunes with this 
 more stubborn and boisterous expedition. — 0th., i. 3. 
 
 Why, that's my bawcock. What, hast smutch'd thy nose ? 
 
 They say, it is a copy out of mine. — W. T., i. 2. 
 
 His faults, in him. seem as the spots of heaven. 
 
 More fiery by night's blackness. — Ant. &• C, i. 4. 
 
 For I can here disarm thee with this stick. 
 
 And make thy weapon drop. — Temp., i. 2. 
 
 Nature wants stujf 
 To vie strange forms with fancy; yet, to imagine 
 An Antony, were nature's piece 'gainst fancy, 
 Condemning shadows quite. — Atit. &• C, v. 2 
 
 I do not think 
 So fair an outward, and such j^if^ within. 
 Endows a man but he. — Cym., i. i. 
 And with some sweet oblivious antidote 
 Cleanse the stuff'd bosom of that perilous stuff 
 Which weighs upon the heart. — Macb., v. 3. 
 
 * " Ram " was objected to by Ritson, in this passage, as " a vulgar word " ; and he 
 proposed to substitute ' rain.' But " ram " is a strong and forcible word ; just the 
 word for Cleopatra to use ; and therefore Shakespeare put it most characteristically 
 into her mouth. 
 
FAMILIAR AND HOMELY EXPRESSIONS. 337 
 
 Steevens proposed to change " stuff'd " here to ' foul,' saying that the 
 ear " must be shocked by the recurrence of so harsh a word." But we 
 know that Shakespeare frequently gave repetitions of similar words in 
 the same sentence [See Repeated Words]; and as for its being a 
 harsh word, see how Shakespeare uses "stuff" and " stuffd " in 
 the passages here collectively cited, where he evidently considers them 
 expressive epithets, and nowise harsh or wanting in poetic dignity. 
 See, too, how he uses " stufl'd " for physical oppression, where he 
 makes Beatrice say: — 
 
 I am stuffd, cousin, I cannot smell. — M. Ado, iii. 4. 
 
 To our thinking, the very iteration of " stufFd" and "stuff" in the 
 present line, serves to give it the effect of stifling over-burdened 
 sensation which it describes. 
 
 I have despatch'd in post 
 To sacred Delphos, to Apollo's temple, 
 Cleomenes and Dion, whom you know 
 01 stuff'd sufficiency.— W. T., ii. i. 
 So noble a master fall'n ! All gone ! and not 
 One friend to take his fortune by the arm. 
 And go along with him. — Timon, iv. 2. 
 I will to Venice ; Sunday comes apace : 
 We will have rings, and things, and iine array. — Tarn, of S., ii. i. 
 
 And now, my honey love. 
 Will we return unto thy father's house. 
 And revel it as bravely as the best, 
 With silken coats, and caps, and golden rings. 
 With ruffs, and cuffs, and farthingales, and things ; 
 With scarfs, and fans, and double change of bravery, 
 With amber bracelets, beads, and all this knavery. — Ibid., iv. 3. 
 
 Johnson pronounces "things," in this last passage, to be "a poor 
 word"; adding, " perhaps the author had not another that would rhyme.'" 
 Without dwelling upon the absurdity of fancying Shakespeare at a loss 
 for a rhyming word, we think that the one he uses in both the above- 
 cited passages a thoroughly apt term. It is put into Petruchio's mouth 
 as a sarcastic employment of the word much favoured by the female sex 
 when talking rapturously of inexpressibly charming finery, which they 
 are in the habit of summing up as "lovely things." In the same spirit 
 of sarcasm, Petruchio immediately after uses the word "knavery," to 
 imply the trumpery, frippery, and trickery of ornament. 
 
 Admir'd Miranda ! 
 Indeed, the top of admiration ; worth 
 What 's dearest to the world ! — Temp., iii. i. 
 
 How would you be. 
 If He, which is the top of judgment, should 
 But judge you as you are ? — M.for M., ii. 2. 
 This shower, blown up by tempest of the soul. 
 Startles mine eyes, and makes me more amaz'd 
 Than had I seen the vaulty top of heaven 
 Figur'd quite o'er with burning meteors. — yohn, v. 2. 
 
 What is this. 
 That rises like the issue of a king. 
 And wears upon his baby brow the round 
 And top of sovereignty ? — Macb., iv. i. 
 
 Z 
 
338 THE SHAKESPEARE KEY. 
 
 All the stor'd vengeances of Heaven fall 
 
 On her ingrateful top ! strike her young bones, 
 
 You taking airs, with lameness ! — Lear, ii. 4. 
 
 Didst thou but know the inly touch of love, 
 
 Thou wouldst as soon go kindle fire with snow. 
 
 As seek to quench the fire of love with words. — Two G. of V., ii. 7. 
 
 This she delivered in the most bitter touch of sorrow 
 
 That e'er I heard virgin exclaim in. — All's W., i. 3. 
 But I perceive in you so excellent a touch of modesty, that you will not extort from 
 me what I am willing to keep in. — Tw. N., ii. i. 
 
 One touch of nature makes the whole world kin. — Tr. &• Cr., iii. 3. 
 He loves us not ; 
 
 He wants the natural touch ; for the poor wren. 
 
 The most diminutive of birds, will fight, 
 
 Her young ones in the nest, against the owl. — Macb., iv. 2. 
 
 I am senseless of your wrath ; a touch more rare 
 
 Subdues all pangs, all fears. — Cym., i. 2. 
 Thou 'It come no more. 
 
 Never, never, never, never, never ! 
 
 Pray you, undo this button : — thank you, sir. — Lear, v. 3. 
 
 Now, how dost thou look now ? O, ill-starr'd wench ! 
 
 Pale as thy smock I when we shall meet at compt. 
 
 This look of thine will hurl my soul from heaven. 
 
 And fiends will snatch at it. — 0th., v. 2. 
 If you will have it in showing, you shall read it in — What do ye call there. — 
 AlVs IF., ii. 3. 
 
 Good even, good Master What-do-ye-call't : how do you, sir? You are very well 
 met. — As Yon L., iii. 3. 
 
 Madam, an hour before the worshipp'd sun 
 
 Peer'd forth the golden window of the east. — R. &• Jul., i. i. 
 
 Then, Jupiter, thou king of gods . . . 
 
 Thy crystal window ope ; look out.— Cym., v. 4. 
 
 In the following passages, Shakespeare uses "ne'er" and "never" 
 in an idiom which, when he wrote, was thought merely a familiarism 
 and no vulgarism, as it is at present : — 
 
 I 'U be damned for never a king's son in Christendom. — i H. IV., i. 2. 
 
 There is ne'er a king in Christendom could be better. — Ibid., ii. i. 
 
 I think there 's never a man in Christendom can. — R. III., iii. 4. 
 
 There's ne'er a villain dwelling in all Denmark. — Hamlet, i. 5. 
 
 HISTORIANS' PASSAGES ADOPTED. 
 
 Shakespeare, as the greatest of all dramatists, and especially as a 
 writer of historical dramas, well knew the value of going directly to the 
 historians' pages for details, and even of adopting from them actual 
 portions best suited to his purpose. He was evidently a diligent reader 
 of the old chronicles of his own country, and a careful studier of Sir 
 Thomas North's translation of Plutarch ; for he has not only givea the 
 vivid colouring of verisimilitude which deriving from authentic sources 
 imparts to dramatic and poetic composition, but he has, in many 
 instances, taken absolute passages from these prose narrations, and 
 put them into his own glowing verse diction. Some among the most 
 
HISTORIANS' PASSAGES ADOPTED. 339 
 
 noteworthy of these adopted passages and accurately introduced points 
 we here collect to show with what judgment our author worked in this 
 respect, as in so many others, to render his writings perfect in com- 
 position and style. The following are derived from Holinshed's 
 " Chronicles ": — 
 
 Captain. 'Tis thought the king is dead; we will not stay. 
 The bay-trees in our country all are wither'd, 
 And meteors fright the fixed stars of heaven ; 
 The pale-fac'd moon looks bloody on the earth, 
 And lean-look'd prophets whisper fearful change ; 
 Rich men look sad, and ruffians dance and leap — 
 The one in fear to lose what they enjoy. 
 The other to enjoy by rage and war : 
 These signs forerun the death or fall of kings. — R. II., ii. 4. 
 
 BoUngbroke. In God's name, I '11 ascend the regal throne. 
 
 Bishop of Carlisle. Marry, God forbid ! 
 Worst in this royal presence may I speak, 
 Yet best beseeming me to speak the truth. 
 Would God, that any in this noble presence 
 Were enough noble to be upright judge 
 Of noble Richard ! &c. 
 [See the whole speech ; which, with the incident that follows, of the bishop's arrest, 
 is transcribed with faithful closeness from Holinshed's narration]. — Ibid., iv. i. 
 
 Archbishop of York. What is this forest call'd ? 
 
 Hastings. 'Tis Gualtree Forest, an 't shall please your grace. — 2 H. IV., iv. i. 
 
 King Henry IV. Doth any name particular belong 
 Unto the lodging where I first did swoon ? 
 
 Warwick. 'Tis call'd Jerusalem, my noble lord. 
 
 King Henry. Laud be to God ! even there my life must end. 
 It hath been prophesied to me many years, 
 I should not die but in jferusalem ; 
 Which vainly I suppos'd the Holy Land : 
 But, bear me to that chamber ; there I 'It lie ; 
 In that Jerusalem shall Harry die.— Ibid., iv. 4. 
 
 King Henry V. No ! How might a prince of my great hopes fori^et 
 So great indignities you laid upon me ? 
 What ! rate, rebuke, and roughly send to prison 
 The immediate heir of England ! Was this easy ? 
 May this be wash'd in Lethe, and forgotten ? 
 
 Chief Justice. I then did use the person of your father ; 
 The image of his power lay then in me : 
 And, in the administration of his law. 
 Whiles I was busy for the commonwealth. 
 Your highness pleased to forget my place. 
 The majesty and power of law and justice. 
 The image of the king whom I presented. 
 And struck me in my very seat of judgement ; 
 Whereon, as an offender to your father, 
 I gave bold way to my authority. 
 And did commit you, &-c., &'c. — Ibid., v. 2. 
 
 Archbishop of Canterbury. My lord, I '11 tell you — that self bill is urg'd. 
 Which in the eleventh year of the last king's reign 
 Was like, and had indeed against us pass'd, 
 But that the scambling and unquiet time 
 Did push it out of farther question. 
 
 Bishop of Ely. But how, my lord, shall we resist it now? 
 
 Canterbury. It must be thought on. If it pass against us. 
 We lose the better half of our possession ; 
 For all the temporal lands, which men devout 
 
 2 2 
 
34° THE SHAKESPEARE KEY. 
 
 By testament have given to the Church, 
 
 Would they strip from us ; being valu'd thus, — 
 
 As much as would maintain, to the king's honour, 
 
 Full fifteen carls and fifteen hundred knights. 
 
 Six thousand and two hundred good esquires ; 
 
 And, to relief of lazars and weak age. 
 
 Of indigent faint souls past corporal toil, 
 
 A hundred almshouses, right well supplied ; 
 
 And to the coffers of the king beside, 
 
 A thousand pounds by the year : thus runs the bill. — H. V., i. i. 
 
 Canterbury. Then hear me, gracious sovereign, and you peers. 
 That owe yourselves, your lives, and services 
 To this imperial throne. There is no bar 
 To make against your highness' claim to France 
 But this, which they produce from Pharamond, — 
 In terram Salicam mulieres ne succedant, 
 " No woman shall succeed in Salique land ; " 
 Which Salique land the French unjustly gloze 
 To be the realm of France, and Pharamond 
 The founder of this law and female bar. 
 Yet their own authors, &'C., &'c. — Ibid., i. 2. 
 
 Bedford. The king hath note of all that they intend. 
 By interception which they dream not of. 
 
 Exeter. Nay, but the man that was his bedfellow. 
 Whom he hath duU'd and cloy'd with gracious favours — 
 That he should, for a foreign purse, so sell 
 His sovereign's life to death and treachery ! — Ibid., ii. 2. 
 King Henry. Here, Fluellen ; wear thou this favour for me, and stick it in thy cap 
 when Alengon and myself were down together, I plucked this glove from his helm. — 
 Ibid., iv. 7. 
 
 King Henry. Do we all holy rites : 
 Let there be sung Non nobis and Te Deum ; 
 The dead with charity enclos'd in clay : 
 And then to Calais ; and to England then ; 
 
 Where ne'er from France arriv'd more happy men. — Ibid., iv. 8. 
 You may imagine him upon Blackheath ; 
 Where that his lords desire him to have borne 
 His bruised helmet and his bended sword 
 Before him through the city : he forbids it. 
 Being free from vainness aud self-glorious pride ; 
 Giving full trophy, signal, and ostent, 
 Qtiite from himself to God. — Ibid., v. (Chorus). 
 Cade. So, sirs : now go some s.nd pull down the Savoy ; others, to the inns of court ; 
 down with them all. 
 
 Dick. I have a suit unto your lordship. 
 Cade. Be it a lordship, thou shalt have it for that word. 
 Dick. Only that the laws of England may come out of your mouth. . . 
 Cade. I have thought upon it, it shall be so. Away, bum all the records of the 
 realm; my mouth shall be the parliament of England. — 2 H. VI., iv. 7. 
 
 In the above passage, two incidents recorded by Holinshed as occur- 
 ring in Wat Tyler's rebellion are here made use of by the dramatist as 
 taking place during Cade's insurrection. 
 
 Edward. Dazzle mine eyes, or do I see three suns ? 
 Richard. Three glorious suns, each one a perfect sun ; 
 Not separated with the racking clouds. 
 But sever'd in a pale clear-shining sky. 
 See, see ! they join, embrace, and seem to kiss, 
 As if they vow'd some league inviolable : 
 Now are they but one lamp, one light, one sun. 
 
HISTORIANS' PASSAGES ADOPTED. 341 
 
 Edward. 'Tis wondrous strange, the like yet never heard of. 
 / think it cites us, brother, to the field — 
 That we, the sons of brave Plantagenet, 
 Each one already blazing by our meeds. 
 Should, notwithstanding, join our lights together. 
 And overshine the earth, as this the world. 
 Whate'er it bodes, henceforward will I bear 
 Upon my target three fair shining suns. — 3 H. VI., ii. i. 
 
 King Henry VI. My Lord of Somerset, what youth is that. 
 Of whom you seem to have so tender care ? 
 
 Somerset. My liege, it is young Henry, Earl of Richmond. 
 
 King Henry, Come hither, England's hope. [Lays his hand on his head. 
 
 If secret powers 
 Suggest but truth to my divining thoughts. 
 This pretty lad will prove our country's bliss. 
 His looks are full of peaceful majesty ; 
 His head by nature fram'd to wear a crown. 
 His hand to wield a sceptre ; and himself 
 Likely in time to bless a regal throne. 
 Make much of him, my lords ; for this is he 
 Must help you more than you are hurt by me. — Ibid., iv. 7. 
 
 Buckingham. . . . Me seemeth good, that, with some little train. 
 Forthwith /com Ludlow the young prince be fet 
 Hither to London, to be crown'd our king. — R. III., ii. 2. 
 
 Buckingham. . . . For we to-morrow hold divided councils. 
 Wherein thyself shalt highly be employ'd. — Ibid., iii. i. 
 
 Messenger. . . . Besides, he says there are two councils held ; 
 And that may be determin'd at the one 
 Which may make you and him to rue at th' other. . . . 
 
 Hastings. . . . Bid him not fear the separated councils. . . . 
 
 Stanley. . . . You may jest on, but, by the holy rood, 
 I do not like these several councils, 1. — Ibid., iii. 2. 
 
 Gloster. . . . My lord of Ely, when I was last in Holborn, 
 / saw good strawberries in your garden there : 
 I do beseech you send for some of them. — Ibid., iii. 4. 
 
 Hastings. . . . Three times to-day my foot-cloth horse did stumble. 
 And started, when he look'd upon the Tower, 
 As loath to bear me to the slaughter-house. — Ibid., iii. 4. 
 
 Buckingham. Will not King Richard let me speak with him .- — Ibid., v. i. 
 
 Buckingham. Every man, 
 
 After the hideous storm that follow'd, was 
 A thing inspir'd ; and, not consulting, broke 
 Into a general prophecy — that this tempest. 
 Dashing the garment of this peace, aboded 
 The sudden breach on 't. — H. VIII., i. i. 
 
 Queen Katharine. Sir, I desire you, do me right and justice ; 
 And to bestow your pity on me : for 
 I am a most poor woman, and a stranger. 
 Born out of your dominions, &c., &c. [See whole speech]. — Ibid., ii. 4, 
 
 Lady Macbeth. . . When Duncan is asleep 
 (Whereto the rather shall his day's hard journey 
 Soundly invite him) , his two chamberlains 
 Will I with wine and wassail so convince. 
 That memory, the warder of the brain. 
 Shall be a fume, and the receipt of reason 
 A limbeck only : when in swinish sleep 
 Their drenched natures lie as in a death. 
 What cannot you and I perform upon 
 Th' unguarded Duncan ? What not put upon 
 
342 THE SHAKESPEARE KEY. 
 
 His spongy officers, who shall bear the guilt 
 Of our great quell? — Macb., i. 7. 
 
 Lennox. The night has been unruly : where we lay 
 Our chimneys were blown down ; and, as they say, 
 Lamentings heard i' the air ; strange screams of death ; 
 And prophesying, with accents terrible. 
 Of dire combustion and confused events 
 New hatch'd to the woeful time : the obscure bird 
 Clamour'd the livelong night : some say, the earth 
 Was feverous and did shake. — Ibid., ii. 3. 
 
 Old Man. Threescore and ten I can remember well : 
 Within the volume of which time I have seen 
 Hours dreadful and things strange ; but this sore night 
 Hath trifled former knowings. 
 
 Rosse. Ah, good father. 
 
 Thou seest the heavens, as troubled with man's act, 
 Threaten his bloody stage ; by the clock 'tis day. 
 And yet dark night strangles the travelling lamp: 
 Is 't night's predominance, or the day's shame. 
 That darkness does the face of earth entomb. 
 When living light should kiss it ? 
 
 Old Man. 'Tis unnatural. 
 
 Even like the deed that 's done. On Tuesday last, 
 A falcon, towering in her pride of place. 
 Was by a mousing owl hawk'd at and kilVd. 
 
 Rosse. And Duncan's horses (a thing most strange and certain), 
 Beauteous and swift, the minions of their race, 
 Turn'd wild in nature, broke their stalls, flung out. 
 Contending 'gainst obedience, as they would make 
 War with mankind. 
 
 Old Man. 'Tis said they eat each other. 
 
 Rosse. They did so — to the amazement of mine eyes. 
 That look'd upon 't. — Ibid., ii. 4. 
 
 The incident of the "two chamberlains" and the portents that 
 attended the regicidal deed, are recorded by the old chronicler as oc- 
 curing when King Duff was murdered ; but the dramatist ingeniously 
 employs these striking particulars as accompanying the midnight 
 assassination of King Duncan. 
 
 Queen , . . The fam'd Cassibelan, who was once at point — 
 Oh, giglot fortune ! — to master Cmsar's sword. 
 Made Lud's town with rejoicing fires bright. 
 And Britons strut with courage. — Cym., iii. i. 
 
 The poet has here assigned to Cassibelan an exploit which, according 
 to the old chronicle, was achieved by his brother Nennius. 
 
 Cym. . . . Our ancestor was that Mulmutius which 
 Ordain'd our laws — whose use the sword of Cassar 
 Hath too much mangled ; whose repair and franchise 
 Shall, by the power we hold, be our good deed ; 
 Though Rome be therefore angry; Mulmutius made our laws. 
 Who was the first of Britain which did put 
 His brows within a golden crown, and call'd 
 Himself a king. — Ibid., iii. i. 
 
 Cym. Thou art welcome, Caius. 
 
 Thy Casar knighted me; my youth I spent 
 Much under him; of him I gather' d honour. — Ibid., iii. i. 
 
 Posthumus. . . . the king himself 
 Of his wings destitute, the army broken, 
 
HISTORIANS' PASSAGES ADOPTED. 343 
 
 And but the backs of Britons seen, all flying 
 Through a strait lane, &'c., &'c. — Cynt., v. 3. 
 
 See the whole of this portion of the dialogue ; which gives a spirited 
 version of a description found in Holinshed's "History of Scotland," 
 narrating the incident of the Roman army being stopped in a narrow 
 lane by three persons, and stating that these three brave persons were 
 the Hays, father and two sons. The dramatist avails himself of the 
 historian's recorded event, by attributing it to three of the personages in 
 his noble drama of "Cymbeline." 
 
 In his Roman plays, Shakespeare has drawn largely from the pictu- 
 resque pages of Plutarch; transferring some of the eloquent passages 
 therefrom almost verbatim into his own scenes, while giving them 
 poetic form and colour : 
 
 Coriolanus. My name is Caius Marcius, who hath done 
 To thee particularly, and to all the Volsces, 
 Great hurt and mischief : thereto witness may 
 My surname, Coriolanus : &'c., &'C. — Coriol., iv. 5. 
 
 Volumnia. Should we be silent and not speak, our raiment 
 A nd state of bodies would bewray what life 
 We have led since thy exile, S^'c, &'c. — Ibid., v. 3. 
 
 Casca. A common slave (you know him well by sight) 
 Held up his left hand, which did flame and burn 
 Like twenty torches joined ; and yet his hand. 
 Not sensible of fire, remained unscorch'd, <&*£., &>€. — yul. C, i. 3. 
 
 Casar. . . . What say the augurers ? 
 
 Servant. They would not have you to stir forth to-day. 
 Plucking the entrails of an offering forth. 
 They could not find a heart within the beast. — Ibid., ii. 2. 
 
 As an instance of our dramatist's skill in selecting, arranging, and 
 appropriately adapting the materials he employed, it is to be observed 
 that the ominous circumstances preceding the death of Cffisar, intro- 
 duced by Shakespeare in act i., sc. 3, and the incident of the sooth- 
 sayers finding no heart in the beast they sacrificed, introduced by 
 Shakespeare in act ii., sc. 2, are recorded in one and the same passage 
 by Plutarch. 
 
 Brutus. . . . With this she fell distract, 
 And, her attendants absent, swallow'dfire. — Ibid., iv. 3. 
 
 Ctisar. Antony, 
 
 Leave thy lascivious wassails. When thou once 
 Wast beaten from Modena, where thou slew'st 
 Hirtius and Pansa, consuls, at thy heel 
 Did famine follow, &'c., Syc. — Ant. &• C, i. 4. 
 Mecanas. Eight wild boars roasted whole at a breakfast, and but twelve persons 
 there; is this true? — Ibid., ii. 2. 
 
 Enobarbus. I will tell you. 
 The barge she sat in, like a burnish'd throne, 
 Burn'd on the water : Si-c, &•€. — Ibid., ii. 2. 
 
 Soothsayer. Cssar's. 
 Therefore, O Antony, stay not by his side : 
 Thy demon — that thy spirit which keeps thee — is 
 Noble, courageous, high, unmatchable. 
 Where Ciesar's is not ; but, near him, thy angel 
 Becomes a Fear, as being o'erpower'd : therefore 
 Make space enough between you. 
 
344 THE SHAKESPEARE KEY. 
 
 Antony. Speak this no more. 
 
 Soothsayer. To none but thee ; no more, but when to thee. 
 // thou dost play with him at any game, 
 Thoti art sure to lose ; and, of that natural luck, 
 He beats thee 'gainst the odds : thy lustre thickens, 
 When he shines by : I say again, thy spirit 
 Is all afraid to govern thee near him ; 
 But, he away, 'tis noble. 
 
 Antony ... Be it art or hap, 
 He hath spoken true : the very dice obey him ; 
 And, in our sports, my better cunning faints 
 Under his chance : if we draw lots, he speeds ; 
 His cocks do win the battle still of mine. 
 When it is all to naught ; and his quails ever 
 Beat mine, inhoop'd, at odds. — Ant. &• C, ii. 3. 
 
 Charmian. 'Twas merry wlien 
 
 You wager'd on your angling; when your diver 
 Did hang a salt-fish on his hook, which he 
 With fervency drew np. — Ibid., ii. 5. 
 
 Pompey. Then so much have I heard : 
 And I have heard : Apollodorus carried . . 
 A certain queen to Ccesar in a mattress. — Ibid., ii. 5. 
 
 Casar. Contemning Rome, he has done all this, and more. 
 In Alexandria ; here 's the manner of it : — 
 /' the market-place, on a tribunal silver'd, 
 Cleopatra and himself in chairs of gold 
 Were publicly enthron'd : &c., SfC. — Ibid., iii. 6. 
 
 We have selected the following passages as being among the manj' 
 that show his mode of employing historical truths, and moulding them 
 to dramatic purpose, and his admirable manner of taking merest hints 
 from original sources, while making them his own by judicious 
 adaptation, alteration, and improvement : — 
 
 Arthur. God shall forgive you CcEur-de-Lion's death 
 
 The rather that you give his offspring life, 
 
 Shadowing their right under your wings of war: 
 
 I give you welcome with a powerless hand, 
 
 But with a heart full of unstained love. — John, ii. i. 
 
 Historic fact showed Prince Arthur to be older than the dramatist 
 represents him to be ; but Shakespeare knew that the pathos of the 
 story would be heightened by his making the boy a child of tender 
 years. 
 
 The poet found justification for his causing the boy to speak with a 
 grace and propriety seldom distinguishing children of his age from a 
 record made by Froissart in his " Chronicles " ; where he describes the 
 conduct of the Princess of France, then " a yonge childe of eyght yere 
 of age." 
 
 Groom. I was a poor groom of thy stable, king, 
 When thou wert king ; who, travelling towards York, 
 With much ado, at length have gotten leave 
 To look upon my sometimes royal master's face. 
 Oh, how it yearn'd my heart, when I beheld. 
 In London streets, that coronation-day, 
 When Bolingbroke road on roan Barbary ! 
 That horse that thou so often hast bestrid. 
 That horse that I so carefully have dress'd ! 
 
 King Richard. Rode he on Barbary ? &c., &c. — R. II., v. 5. 
 
HISTORIANS' PASSAGES ADOPTED. 345 
 
 Froissart relates an anecdote of a favorite greyhound that belonged to 
 King Richard, and fawned upon him exclusively ; till once, the dog left 
 the King and leapt upon the Duke of Lancaster with the same shows 
 of fondness that he formerly showed only to the King ; a piece of canine 
 fickleness that, it is said, struck Richard keenly. Probably it was this 
 anecdote that suggested to Shakespeare the incident which he has so 
 affectingly introduced, judiciously changing the animal from a dog to a 
 horse. 
 
 Cassius. Ha, ha ! how vilely doth this cynic rhyme! — jful. C, iv. 3. 
 
 In North's Plutarch the intruder upon Brutus and Cassius is re- 
 presented to be " a cynic philosopher ; " but the dramatist, with 
 appropriate effect, makes him one of those cynical professional 
 rhymesters that used to follow the camp in ancient wars (such as 
 Thersites in " Troilus and Cressida "), serving to amuse the idler hours 
 of the leaders, to celebrate in doggrel their feats, and occasionally to 
 administer biting sarcasms and rebukes. 
 
 Paulina. Sir, my liege. 
 
 Your eye hath too much youth in 't: not a month 
 'Fore your queen died, she was more worth such gazes 
 Than what you look on now. 
 
 Leontes. I thought of her, 
 
 Even in these looks I made. — W. T., v. i. 
 
 The conduct of the plot at this juncture of the story in the original 
 source, whence Shakespeare derived the groundwork of his drama of 
 "The Winter's Tale" (Robert Greene's novel of " Pandosto : the 
 Triumph of Time"; afterwards entitled "The History of Dorastus 
 and Fawnia"),is of so coarse a character, as to raise still higher our 
 admiration of Shakespeare's exquisite treatment of the subject, by 
 reason of his supreme tact and taste in adaptation. 
 
 First Gentleman. But I much marvel that your lordship, having 
 Rich tire about you, should at these early hours 
 Shake off the golden slumber of repose. — Per., iii. 2. 
 
 Instead of a physician, as in the original (the " Gesta Romanorum ") 
 Shakespeare rhakes Cerimon a nobleman who dedicates his wealth and 
 leisure to the study of physic and to the relief of his suffering fellow- 
 creatures ; thereby reading the lesson of benevolent opulence and 
 wisdom preferring a life of active utility to one of ease and self- 
 indulgence. 
 
 Pericles. . . . Didst thou not say, when I did push thee back, 
 (Which was when I perceived thee) , that thou cam'st 
 From good descending ? — Ibid., v. 1. 
 
 The dramatist, with his usual sense of delicate propriety, makes the 
 King put his daughter aside with a gesture of impatient rejection, 
 instead of following the original ; which describes Pericles as striking 
 the unknown maiden when she first accosts him. 
 
 As evidence of the consummate skill with which Shakespeare 
 invented characters from faintest indications, we would mention that 
 his choice full-length picture of the " humorous patrician," Menenius 
 Agrippa, had no more marked origin than a brief sentence in North's 
 Plutarch, which relates that "The senate being afeard of their de- 
 
346 THE SHAKESPEARE KEY. 
 
 parture, did send unto them certaine of the pleasantest old men, and the 
 most acceptable to the people among them. Of those Menenius 
 Agrippa was he who was sent for chiefe man of the message from the 
 senate. He, after many good perswasions and gentle requests made 
 to the people on behalfe of the senate, knit up his oration in the end 
 with a notable tale, in this manner : that on a time all the members of 
 man's body did rebell against the belly, complaining of it," &c. Similariv 
 the dramatist's fine portraiture of Domitius Enobarbus, with its spirited 
 delineation and profoundly touching close, grew from these few lines in 
 North's Plutarch : — " He dealt very friendly and courteously with 
 Domitius, and against Cleopatra's mind. For he being sick of an ague 
 when he went and tooke a little boate to go unto Cassar's campe, 
 Antonius was very sorie for it, but yet he sent after him all his cariage, 
 traine, and men : and the same Domitius, as though he gave him to 
 understand that he repented his open treason, died immeaiately after.'' 
 Shakespeare has registered the names of certain historically men- 
 tioned brave men " in the bead-roll of eternal fame," by allusion to 
 them in his chronicle-plays : — 
 
 Where is the number of our English dead ? — 
 
 Edward the Duke of York, the Earl of Suffolk, 
 
 Sir Richard Ketly, Davy Gam, Esquire. — H. V., iv. 8. 
 
 But get you to Smithfield, and gather head, 
 
 And thither I will send you Matthew Gough. — 2 H. VI., iv, 5. 
 
 Sir Walter Herbert, a renowned soldier ; 
 
 Sir Gilbert Talbot, Sir William Stanley ; 
 
 Oxford, redoubted Pembroke, Sir James Blunt, 
 
 And Rice ap Thomas, with a valiant crew. — R. III., iv. 5. 
 
 There are some inaccuracies found in Shakespeare that are attri- 
 butable to the original sources whence he derived his historical plots or 
 incidents \_See Alleged Anachronisms, &c.] : — 
 
 Also King Lewis the Tenth [Ninth], 
 Who was sole heir to the usurper Capet. — H. V., i. 2. 
 
 IDIOMS. 
 
 Shakespeare, the most vigorous writer of English that ever set pen 
 to paper, abounds in idiomatic phrases. He uses several idioms that 
 were in use when he wrote, but which have either fallen into disuse or 
 have become slightly modified in expression ; and he uses others that 
 are still in familiar use among us. He employs several idioms similar 
 in sense, but variously worded ; and several similarly worded idioms, 
 but with various significations. It will be obvious that there is 
 difficulty in classifying the examples collected under the present 
 heading ; and still more difficulty — nay, impossibility — in placing them 
 alphabetically. The utmost that can be done is to collect, under the 
 general denomination of Idioms, such phrases as are usually understood 
 to rank as idiomatic expressions ; and this we have done to the best of 
 our power. 
 
 And bring them after in the best advantage [' in the most advantageous manner ']. — 
 0th., i. 3. 
 
IDIOMS. 347 
 
 Yes, a dozen; and as many io the vantage ['over and above,' 'in addition to them']. — 
 0th., iv. 3. 
 
 My fortunes every way as fairly rank'd (if not with vantage) [' additionally so,' 
 ' more so'] as Demetrius' .^Afirf. N. D., i. i. 
 
 Go, bid thy master well advise himself [' reflect,' ' consider ']. — H. V., iii. 6. 
 
 Have you nothing said upon his party 'gainst the duke of Albany ? Advise yourself 
 [' recollect yourself,' ' bethink yourself,' 'reflect,' ' consider ']. — Lear, ii. i. 
 
 You go against the hair [' against the grain,' ' contrary to the nature or quality '] of 
 your professions. — Merry W., ii. 3. 
 
 He is melancholy without cause, and merry against the hair [' contrary to the nature 
 of mirth'].— Tr. &• Cr., i. 2. 
 
 Thou desirest me to stop in my tale against the hair [' contrary to the spirit of 
 jesting']. — R. &• jful., ii. 4. 
 
 Made you against the grain [the more usual idiom : ' contrary to your inclination '] 
 to voice him consul. — Coriol., ii. 3. 
 
 This is for all [' once for all,' ' I tell you this as your guidance for the future']. — 
 Hamlet, i. 3. 
 
 And all the madness is ['what makes me feel more mad, or vexed, is'] he cheers 
 them up too. — Timon, i. 2. 
 
 You are such another! ['such an extraordinary creature']. — Tr. &> Cr., i. 2. 
 
 The falcon as the tercel [' is as good as the tercel '] . — Ibid., iii. 2. 
 
 As who should say [' as one who should say']. — R. II., v. 4. 
 
 That 's as much to say as [old form of ' as much as to say '], I wear not motley in my 
 brain. — Tw. N., i. 5. 
 
 Which is as much to say as — let the magistrates. — 2 H. VI., iv. 2. 
 
 That 's as much as to say [here Shakespeare uses the more usual form of this idiom] 
 — Can she so ? . . . That 's as much as to say — bastard virtues. — Two G. of V., iii. i. 
 
 Say ['supposing'], this were death. — Temp., i. 2. 
 
 Say, I do speak with her, my lord, what then ? — Tw. N., i. 4. 
 
 Say that some lady, as, perhaps, there is. — Ibid., ii. 4. 
 
 Say that Marcius return me, as Cominius is return'd. — Coriol., v. i. 
 
 Why, say, they are vile and false. — Oih., iii. 3. 
 
 Or, say, they strike us, or scant our former having. — Ibid., iv. 3. 
 
 Say, this becomes him . . . yet must Antony. — Ant. &• C, i. 4. 
 
 Ha ! / have said [similar to the Italian idiom, Basta I ' enough,' ' I say no more,' let 
 it suffice']. Be gone. — Henry VIII., v. i. 
 
 My wife kill'd too ? — I have said. — Be comforted. — Macb., iv. 3. 
 
 Give me particulars. — / have said. — Ant. &• C, i. 2. 
 
 Make me not offended in your distrust. — I have said. — Ibid., iii. 2. 
 
 You have said [' you have had your say'], sir. — Two G. of V., ii. 4. 
 
 You have said; but whether wisely or no, let the forest judge. — As You L., iii. 2. 
 
 You have said, sir. To see this age ! A sentence is but. — Tw. N., iii. i. 
 
 You have said, sir. We looked not for Mark Antony here. — Atit. &• C, ii. 6. 
 
 I had rather chop this hand off at a blow [' at one single stroke ']. — 3 H. VI., v. i. 
 
 What fifty of my followers, at a clap ? [' all at once,' ' suddenly '] . — 
 Lear, i. 4. 
 
 Ten masts at each [' each placed at the end of each '] make not the altitude. — 
 Ibid., iv. 6. 
 
 May worthy Troilus be half attached with [' possessed by,' ' seized with,' ' over- 
 powered by '] that which here his passion doth express. — Tr. &• Cr., v. 2. 
 
 No, faith, die by attorney [' by deputy,' ' by proxy ']. — As You L., iv. i. 
 
 I, by attorney [' as deputed by her '] bless thee from thy mother. — R. III., v. 3. 
 
 And there awake God's gentle-sleeping peace [' arouse divine patience, and convert it 
 into avenging wrath ']. — Ibid., i. 3. 
 
348 THE SHAKESPEARE KEY. 
 
 In the mildness of your sleepy thoughts, which here we waken [' rouse into energy '] 
 to our country's good. — R. III., iii. 7. 
 
 We will not wake your patience ['rouse your patience, and convert it into wrath 'j. 
 — M^ Ado, V. I. 
 
 If none, awake your dangerous lenity ['arouse your perilous forbearance, and convert 
 it into more judicious severity ']. — Coriol., iii. i. 
 
 And extort a poor soul's patience [' force a poor soul's patience into wrath '], all to 
 make your sport. — Mid. N. D., iii. 2. 
 
 She never could away with me [' never could -bear me']. — Never, never; she would 
 always say she could not abide [' could not endure 'J Master Shallow. — 2 H. IV., iii. 2. 
 
 'A could never abide carnation. — H. V., ii. 3. 
 
 Why he cannot abide a gaping pig. — Mer. of V., iv. i. 
 
 Nay, / do bear a brain [' I have my wits about me,' ' I have a good memory']. — 
 R. &• Jul., i. 3. , 
 
 O, there has been much throwing about of brains [' wit-contest,' ' sharp argument 
 on both sides']. — Hamlet, ii. 2. 
 
 Cudgel thy brains [' puzzle thy wits '] no more about it. — Ibid., v. i. 
 
 And let us knog our prains together [' lay our heads together,' ' debate together'] to 
 be revenge on this same. — Merry W., iii. i. 
 
 I see them lay their heads together ['consult together'], to surprise me. — 
 2 H. VI., iv. 8. 
 
 What ! Bear her in hand [' beguile her on by false appearance of good-will '] until 
 they come to take hands. — M. Ado, iv. i. 
 
 I tell you, sir, she bears me fair in hand [' she gives me fair encouragement '] . — 
 Tarn, of S., iv. 2. 
 
 To bear a gentleman in hand [' lure a gentleman on with false expectation '], and then 
 stand upon security! — 2 H. IV., i. 2. 
 
 Your daughter, whom she bore in hand to love [' beguiled under an appearance of 
 love'] with such integrity. — Cym., v. 5. 
 
 How you were borne in hand ['led on by false expectations'], how cross'd. — 
 Macb., iii. i. 
 
 Was falsely borne in hand [' deluded, beguiled by pretexts']. — Hamlet, ii. 2. 
 
 Caesar doth bear me hard [' bear a hard opinion of me,' ' bear me ill-will,' 'bear me a 
 grudge '].—Jul. C, i. 3. 
 
 Caius Ligarius doth bear CcEsar hard. — Ibid., ii. i. 
 
 I do beseech ye, if you bear me hard. — Ibid., iii. i. 
 
 To bear a hard opinion of his truth. — Two G. of V., ii. 7. 
 
 As we'll direct her how 'tis best to bear it [' carry the matter,' ' conduct the affair']. 
 —All's W., iii. 7. 
 
 But bear it [' conduct yourselves,' ' demean yourselves '] as our Roman actors do. — 
 Jul. C, ii. I. 
 
 And, for turning away, let summer bear it out ['enable me to endure it']. — 
 Tw. N., i. 5. 
 
 I hope your warrant will bear out [' authorise,' ' exonerate you in,' ' bear you harm- 
 less through '] the deed. — John, iv. i. 
 
 If I cannot once or twice in a quarter bear out [' uphold,' ' support,' ' carry through, 
 'justify,' ' vindicate '] a knave against an honest man, I have but very little credit with 
 your worship. — 2 H. IV., v. i. 
 
 To bear up [' have fortitude '] against what should ensue. — Temp., i. 2. 
 
 Therefore bear up [' keep up your courage '], and board 'em. — Ibid., iii. 2. 
 
 So long as nature will bear tip with [' sustain '] this exercise, so long I daily vow to 
 use it.— W. T., iii. 2. 
 
 I pray you, bear with [' be patient with '] me; I can go no farther. — For my part, I 
 had rather bear with you. — As You L., ii. 4. 
 
IDIOMS. 349 
 
 And though I must be content to bear with [' be tolerant with '] those that say you 
 are reverend grave men. — Coriol., ii. i. 
 
 Tell him his pranks have been too broad to bear with [' be tolerated '] . — 
 Hamlet, iii. 4. 
 
 A woman that bears all down [' carries all before her,' ' overcomes every obstacle '] 
 with her brain. — Cym., ii. i. 
 
 He bears him [' presumes '] on the place's privilege. — i H. VI., ii. 4- 
 
 We might have met them dareful, beard to beard ['in close opposition'], and beat 
 them backward home. — Macb., v. 5. 
 
 This naughty man shall face to face [' confrontingly '] be brought to Margaret. — 
 M. Ado, V. I. 
 
 And fighting/ooi to foot [' in close opposition ']. — Ant. &• C, iii. 7. 
 
 In single opposition, hand to hand [' in close fight ']. — i H. IV., i. 3. 
 
 Set limb to limb ['limb in comparison with limb'], and thou art far the lesser. — 
 2 H. VI. iv. 10. 
 
 Sir John, you loiter here too long, being [' since '] you are to take soldiers up in 
 counties as you go. — 2 H. IV., ii. i. 
 
 Being that I flow in grief, the smallest twine may lead me. — M. Ado, iv. i. 
 
 Be it so [' supposing that,' ' if it prove that '] she will not here before your grace 
 consent to marry with Demetrius. — Mid N. D., i. i. 
 
 The multitude, beside themselves ['out of their wits,' 'bereft of their senses'] with 
 fear. — yul. C, iii. i. 
 
 To put him quite beside his patience [' out of patience ']. — i H. IV., iii. i. 
 
 Quite beside the government of patience ! ['beyond the control of self-restraint']. — 
 Cym., ii. 4. 
 
 Very many have been beside their wit [' out of their wits,' ' out of their senses ']. — 
 M. Ado, V. I. 
 
 How fell you beside your five wits ? [' out of your wits ']. — Tw. N., iv. 2. 
 
 For mine 's beyond beyond [' out of all reckoning,' ' past expression ']. — Cym., iii. 2. 
 
 You look beyond him f overshoot the mark in estimating him,' ' misjudge him '] 
 quite : the prince but studies. — 2 H. IV., iv. 4. 
 
 The king has gone beyond me [' outwitted me,' ' out-generaled me,' ' outstepped me 
 in politic proceeding']. — H. VIII., iii. 2. 
 
 Which went beyond [' outstepped,' ' exceeded,' ' surpassed '] all man's endeavours. — 
 Ibid., iii. 2. 
 
 If she went before [' surpassed,' ' excelled '] others I have seen, as that diamond out- 
 lustres many. — Cym., i. 5. 
 
 If I would think my heart out of thinking ['beyond the power of thinking']. — 
 M. Ado, iii. 4. 
 
 But that a joy fast joy [' beyond all usual joys,' ' surpassing most joys '] calls out on 
 me. — R. &• Jul., iii. 3. 
 
 The king will bid you battle ['challenge you to battle,' 'engage you in battle'] 
 presently. — i H. IV., v. 2. 
 
 Issue forth, and bid them battle straight. — 3 H. VI., i. 2. 
 
 Shall cross the seas, and bid false Edward battle. — Ibid., iii. 3. 
 
 Issue out again and bid us battle . . . force enough to bid his brother battle 
 and bid thee battle, Edward. — Ibid., v. 2. 
 
 And means to give you battle presently. — i H. VI., v. 2. 
 
 He hath bid me to ['invited me to'] a calf's head and a capon. — M. Ado, v. i. 
 
 To bid my old master, the Jew, to sup to-night with my new master, the Christian . — 
 Mcr. of v., ii. 4. 
 
 I am bid forth to supper, Jessica. — Ibid., ii. 5. 
 
 I will bid the duke to the nuptial. — As You L., v. 2. 
 
 Their love is not so great, Hortensio, but we may blow our nails ['remain baffled,' 
 kick our heels,' ' go whistle '] together. — Tarn, of S., i. i. 
 
35° THE SHAKESPEARE KEY. 
 
 And Dick the shepherd blows his nail [' blows his finger-ends to give them warmth ' 
 and (acordingto the idiom formerly so used) 'remains baflfled,' ' passes avsray vexatiously 
 idle time ' : equivalent to the more modern idiomatic phrase, ' kicks his heels,' ' goes 
 whistle '].—Lo-ue's L. L., v. 2 {Song). 
 
 What time the shepherd, blowing of his nails. 
 
 Can neither call it perfect day nor night. — 3 H. VI., ii. 5. 
 
 For it is you have blown this coal ['kindled this spark of discord'] betwixt my lord 
 and me . . . you charge me that I have blown this coal ; I do deny it. — H. VIIL, ii. 4. 
 
 Then vail your stomachs, for it is no boot [' no use,' ' of no avail,' ' profitless,' 
 ' fruitless '].—Tam. of S., v. 2. 
 
 Norfolk, throw down ; we bid ; there is no boot. — R. II., i. i. 
 
 Then talk no more of flight, it is tio boot. — i H. VI., iv. 6 
 
 Grace to boot ['in addition to my own wit,' 'in aid of my self-defence'].— H^. T., i. 2. 
 
 Now, by my sceptre, and my soul to boot ['in addition, as well ']. — i H. /K.,iii. 2. 
 
 With all appliances and means to boot. — 2 H. IV., iii. i. 
 
 This, and Saint George to boot. — R. III., v. 3. 
 
 Helen, to change, would give an eye to boot. — Tr. &• Cr., i. 2. 
 
 And the rich East to boot. — Macb., iv. 3. 
 
 Thou hast thy mistress still— to boot, my son. — Cym., i. 6. 
 
 Horse-hairs, and calves'-guts, nor the voice of unpaved eunuch to boot, can never 
 amend. — Ibid., ii. 3. 
 
 All curses madded Hecuba gave the Greeks, 
 
 And mine to boot, be darted on thee! — Ibid., iv. 2. 
 
 Hearty thanks: the bounty and the benison of heaven to boot, and boot ! [' over and 
 above,' 'moreover, and still moreover']. — Lear, iv. 6. 
 
 My gravity . . could I, viith boot, ['advantageously,' 'with profit'] change for an 
 idle plume. — M.for M., ii. 4. 
 
 You, to your rights ; with boot ['with extra advantages'] and such additions as your 
 honours have more than merited. — Lear, v. 3. 
 
 Young York he is but boot ['only makeweight,' ' merely an additional advantage 
 given in to form an equivalent']. — R. III., iv. 4. 
 
 I shall not break your bidding [' disobey your commands']. — AlVs W., ii. 5. 
 
 Then thou canst not break her ['break her in,' 'instruct her in playing'] to the 
 lute ?— Tarn. 0/ S., ii. i. 
 
 If he break ['if he fail to pay'], thou may'st with better face exact the penalty. — 
 Mer. of v., i. 3. 
 
 If he should break his day ['fail in paying on the day agreed,' ' commit a breach of 
 contract']. — Ibid., i. 3. 
 
 Well, I'll break in ['effect forcible entrance'], go borrow me a crow. . . . If by 
 strong hand you offer to break in. — Com. of E., iii. i. 
 
 To break within the bloody house of life. — yohn, iv. 2. 
 
 Boyet, you can carve ; break up [an idiom formerly used for ' cutting up ' when 
 applied to cooked poultry, and for ' opening ' or ' breaking the seal,' when applied to 
 letters; " a capon " being a gallant technicality for a love-letter, as the French word 
 poulet was a term for a billet-doux] this capon. — Love's L. L., iv. i. 
 
 Break up ['break open'] the gates. — i H. VI., i. 3. 
 
 Break up ['dissolve,' 'dismiss'] the court. — H. VIII., ii. 4. 
 
 Now will we break with [' disclose the matter to '] him. — Two G. of V., i. 3. 
 
 I am to break with [' disclose to,' ' communicate to '] thee of some affairs. — Ibid., iii. i. 
 
 And I will break with [' impart the matter to '] her, and with her father. — M.Ado, i. i. 
 
 And instantly break with you of it. — Ibid., i. 2. 
 
 And hath withdrawn her father to break with him about it. — Ibid., ii. i. 
 
 For my life, to break with him about Beatrice. — Ibid., iii. 2. 
 
 Break with your wives of your departure hence. — i H. IV., iii. i. 
 
 Let us not break with him ; for he will never follow. — Jul. C, ii. i. 
 
IDIOMS. 351 
 
 We have appointed to dine with mistress Anne, and I would not break with [' fail in 
 our engagement with '] her for more money that I Ml speak of — Merry W., iii. 2. 
 
 It cannot be the Volsces dare break with [' come to a rupture with,' ' quarrel with '] 
 us. — CorioL, iv. 6. 
 
 I '11 be with you, niece, by-and-by. — To bring, uncle [' I '11 bring as good as I get,' 
 ' I '11 be even with you ']. — Tr. &• Cr., i. 2. 
 
 You britig me out [' put me out,' ' interrupt me,' ' disconcert me ']. — As You L., iii. 2. 
 
 They do not mark me, and that brings me out [' puts me out ']. — Love's L. L., v. 2. 
 
 I '11 bring you [' escort you,' ' accompany you '] thither. — M. Ado, iii. 2. 
 
 We will bring you on your way. — Love's L. L., v. 2. 
 
 How far brought you [' did you accompany '] high Hereford on his way ? — R. II., i. 4. 
 
 You either fear his humour, or my negligence, that you call in question [' put into 
 c'.oubt,' 'express a doubt of] the continuance of his love. — Tw. N., i. 4. 
 
 In this I do not call your faith in question. — Tr. &■ Cr., iv. 4. 
 
 Now sit we close about this taper here. 
 
 And call in question [' discuss the question of,' ' take in review,' ' bring forward for 
 consideration 'J our necessities. — jful. C, iv. 3. 
 
 His means of death, his obscure funeral. . . . 
 
 Cry to be heard, as 'twere from heaven to earth, 
 
 That I must call 't in question [' challenge it,' ' make it subject of inquiry,' ' demand 
 explanation of it']. — Hamlet, iv. 5. 
 
 Full surfeits and the dryness of his bones 
 
 Call on him [' call him to account,' ' take him to task,' ' call him to a reckoning,' 
 ' cite him to pay '] for 't. — Ant. <&• C, i. 4. 
 
 'Tis not due yet ; I would be loath to pay him before his day. What need I be so 
 forward with him that calls not on me ? [' calls me not to a reckoning,' ' cites me not 
 to pay']. — I H. IV., y. 1. 
 
 A very serious business calls on him [' demands his attention ']. — All's W., ii. 4. 
 
 But that a joy past joy calls out on me [' summons me ']. — R. &• Jul., iii. 3. 
 
 I am bound to call upon you ['summon you,' 'cite you to appear']. — M.forM.,m.-2.. 
 
 May be, I will call uponyoti ['summon you '] anon. — Ibid., iv. i. 
 
 Speak not you to him, till we call upon you [' appeal to you ']. — Ibid., v. i. 
 
 I'll call upon you [' summon you'] straight: abide within. — Macb., iii. i. 
 
 Our time does call upon us [' summon us away ']. — Ibid., iii. i. 
 
 This, and what needful else that calls upon us ['demands our attention '], by the 
 grace of Grace, we will perform. — Ibid., v. 7. 
 
 Time calls upon us [' requires us to hasten ']. — Ant. &• C, ii. 2. 
 
 I '11 call to you [' call at your house,' ' come to your house ']. — Timon, i. 2. 
 
 He'll call you to ['summon you to'] so hot an answer of it. — H. V., ii. 4. 
 
 How far is 't caWd [' is it reckoned '] to Forres ? — Macb., i. 3. 
 
 I '11 give you a remuneration : why, it carries it [' it carries the day,' ' it surpasses,' 
 ' it transcends ']. — Love's L. L., iii. i. 
 
 It must be a very plausive invention that carries it [' suffices,' ' avails '] . . . yet 
 slight ones will not carry it [' avail,' ' suffice ']. — All's W., iv. i. 
 
 Are you all resolved to give your voices ? But that 's no matter; the greater part 
 carries it [' prevails,' ' gains the day ']. — CorioL, ii. 3. 
 
 He will carry 't, he will carry 't [' succeed,' ' prevail '] ; 'tis in his buttons [' it is in 
 him to do it,' ' he is quite capable of such a thing,' ' 'tis within his compass '] ; he will 
 carry 't. — Merry W., iii. 2. 
 
 Shall pride carry 't? [' prevail,' ' triumph,' ' get the day ']. — Tr. &• Cr., ii. 3. 
 
 0, he would miss it, rather than carry it [' gain,' ' win," ' succeed,' ' prevail '] but by 
 the suit o' the gentry. — CorioL, ii. i. 
 
 'Tis thought of every one Coriolanus will carry it. — Ibid,, ii. 2. 
 If there be 
 
 Such valour in the bearing, what make we 
 
352 THE SHAKESPEARE KEY. 
 
 Abroad ? Why then, women are more valiant. 
 
 That stay at home, if bearing carry it [' get the palm,' ' rank first,' ' have highest 
 merit ascribed']. — Timon, iii. 5. 
 A la stoccata carries it away [' gets the better,' ' triumphs ']. — R. &■ jfiiL, iii. i. 
 Do the boys carry it away [' get the upper hand,' ' prevail']. — Hamlet, ii. 2. 
 He 'd carry it so [' manage it so,' ' contrive it so '] to make the sceptre his — 
 
 H. vin., i. 2. 
 
 And carry it so [' conduct the matter so '], as I have set it down. — Lear, v. 3. 
 
 We may carry ii thus [' go on at this rate'], for our pleasure and his penance, till 
 our very pastime, tired out. — Ta. N., iii. 4. 
 
 Shall the elephant Ajax carry it tints [' domineer in this way '] ? He beats me, and 
 I rail at him. — Tr. &• Cr., ii. 3. 
 
 What a full fortune does the thick-lips owe, if he can carry 't thtis [' succeed thus ']. 
 —Oth., i. I. 
 
 If case [' if the case be that,' ' in case '] some one of you would fly from us. — 
 3 H. VI., V. 4. 
 
 He is not valiant. — Thou liest, most ignorant monster: I am in case ['in 
 a condition,' ' in a frame of mind,' ' in the mood,'] to justle a constable. — 
 Temp., iii. 2. 
 
 I '11 break my staff, bury it certain fatl^oms [' an unspecified depth '] in the earth. — 
 Ibid., V, I. 
 
 Till some certain shot [' unspecified money '] be paid. — Two G. of V., ii. 5. 
 
 Sent my peasant home for certain ducats [' unspecified amount of ducats '] : he with 
 none return'd. — Com. ofE., v. i. 
 
 I did send to you for certain sums [' unspecified amount '] of gold, which you denied 
 me. — jful. C, iv. 3. 
 
 They take the flow o' the Nile by certain scales [' unspecified measurement '] i' the 
 pyramid. — Ant. &■ C, ii. 7. 
 
 And certain stars [' unspecified number '] shot madly from their spheres, to hear the 
 sea-maid's music. — Mid. N. D., ii. 2. 
 
 A hue and cry hath follow'd certain men [' unspecified number '] into this house. — 
 I H. IV., ii. 4. 
 
 To borrow so many [' unspecified number '] talents. — Timon, iii. 2. 
 Beyond all manner of jo much [' unspecified amount '] I love yOM.^Lear, i. i. 
 He 's very wild ; addicted so and so [' unspecified vices ']. — Hamlet, ii. i. 
 Such and such [' unspecified kind and number '] pictures. — Cym., ii. 2. 
 There is no certain princess [' unnamed, but understood '] that appears. — Love's 
 L. L., iv. 3. 
 
 A lodg'd hate and a certain loathing [' specially felt, but left undefined '] I bear 
 Antonio. — Mer. of V., iv. i. 
 
 Of a certain knight [' alluded to as an instance '], that swore. — As You L., i. 2. 
 
 A certain queen [' particularly meant, but left unnamed '] to Caesar in a mattress. — 
 Ant. &■ C, ii. 6. 
 
 I know thou canst not choose [' cannot do otherwise,' ' cannot avoid doing so ']. — 
 Temp., i. 2. 
 
 Yond same cloud cannot choose but fall by pailfuls. — Ibid., ii. 2. 
 
 I cannot choose but pity her. — Two G. of V., iv. 4. 
 
 That cannot choose but amaze him. — Merry W., v. 3. 
 
 That swear he cannot choose but break. — Mer. of V., iii. i. 
 
 Such an affection, which cannot choose but branch now. — W. T., i. i. 
 
 It cannot choose but be a noble plot. — i H. IV., i. 3. 
 
 Which cannot choose but bring him quickly on. — Ibid., v. 2. ' 
 
 Cannot choose but they must blab. — Oth., iv. i. 
 
IDIOMS. 353 
 
 This is clean kam ['quite beside the purpose,' 'quite irrelevant']. — Merely awry : 
 when he did love his country. — Coriol., iii. i. 
 
 But men may construe things after their fashion, 
 
 Clean from the purpose [' quite apart from the drift '] of the things themselves — 
 Jul. C, i. 3. 
 
 A pox of drowning thyself! it is clean out of the way [' quite out of the question,' 
 ' quite beside the purpose ']. — 0th., i. 3. 
 
 What colour for F' appearance of reason for,' ' pretext for '] my visitation shall I hold 
 up before him ? — W. T., iv. 3. 
 
 But yet we want a colour for [' a show of justice for,' ' an appearance of justice for '] 
 his death. — 2 H. VI., iii. i. 
 
 It is no matter, if I do halt ; I have the wars for my colour [' for my excuse,' ' my 
 pretext '], and my pension shall seem the more reasonable. — 2 H. IV., i. 2. 
 
 Under pretence to see the queen his aunt 
 
 (For 'twas indeed his colour [' his pretext,' ' his ostensible motive '], but he came 
 
 To whisper Wolsey), here makes visitation. — H. VIII., i. i. 
 
 Caesar's ambition . . . against all colour [' contrary to all show of right,' ' without 
 any ostensible right'], here did put the yoke on us. — Cym., iii. i. 
 
 Since the quarrel will bear no colour [' possess no plausibility,' ' give no appearance 
 of being just'] for the thing he is. — Jul. C, ii. i. 
 
 Seek no colour [' no pretext,' ' no pretended cause '] for your going, but bid farewell 
 and go. — Ant. &• C, i. 3. 
 
 This must be patched with cloth of any colour [' set to rights by any plausible 
 excuse']. — Coriol., iii. i. 
 
 There is a kind of confession in your looks, which your modesties have not craft 
 enough to colour [' to cover by a show of specious meaning']. — Hamlet, ii. 2. 
 
 That show of such an exercise may colour [' give an appearance of ostensible 
 motive for '] your loneliness. — Ibid., iii. i. 
 
 Under tjie colour of [' the pretence of] commending him. — Two G. of V., iv. 2. 
 
 Under the colour of his usual game. — 3 H. VI., iv. 5. 
 
 Under whose colours [' in whose service'] he had fought so long. — R. II., iv. i. 
 
 Those that weep . . . under her colours [' on her behalf,' ' on her side,' ' as her 
 partisans'], are wonderfully to extend him. — Cym., i. 5. 
 
 How might we see Falstaff bestow himself to-night in his true colours [' according to 
 his veritable disposition,' ' without any show of being better than he is 'J. — 2 H. IV., ii. 2. 
 
 He that is well hanged in this world needs to fear no colours [' dread no threats or 
 danger, under whatever aspect they may approach '] . . . I can tell thee where that 
 saying was born, of, I fear no colours [' fear no foe, under whatever colours he may 
 fight'] ... In the wars. — Tw. N., i. 5. 
 
 I Ao fear colourable colours [' mistrust plausible appearances ']. — Lo'jc's L. L., iv. 2. 
 
 Here 's such ado to make no stain a stain, 
 
 hs passes colouring [' exceeds all specious pretence']. — W. T., ii. 2. 
 
 Who deserved so long a breeding as his white beard came to [' amounted to,' ' gave 
 token of meriting'] in doing this. — Cym., v. 3. 
 
 For more than blushing comes to [' amounts to ']. — H. VIII., ii. 3. 
 
 Superfluity comes sooner by [' sooner attains '] white hairs ; but competency lives 
 longer. — Mer. of V., i. 2. 
 
 The stone's too hard to come by ['attain']. — Cym., ii. 4. 
 
 On the expectation of plenty ; come in time [' be in time,' ' come early']. — ilacb.. ii. 3. 
 
 Nay, for a need, thus far come near my person [' touch upon what personally regards 
 me '] ; tell them, when that my mother. — R. III., iii. 5. 
 
 She that makes dainty, she, I '11 swear, hath corns ; am I come near you [' piqued 
 you,' ' touched upon a susceptible point'] now .' — R. & Jul., i. 5. 
 
 How he comes o'er us [' taunts us,' ' twits us '] with our wilder days. — H. V., i. 2. 
 
 Lord Longaville said, I came o'er [' overcame,' ' overpowered '] his heart ; 
 
 And trow you what he called me ? — Qualm, perhaps. — Love's L. L., v. 2. 
 
 2 .\ 
 
354 THE SHAKESPEARE KEY. 
 
 I have turned away my other guests ; they must come off [' come down with the 
 cash,' ' pay handsomely']. I '11 sauce them. — Merry W., iv. 3. 
 
 This comes off well ['is well delivered or expressed'] here's a wise officer. — 
 M.for M., ii. i. 
 
 This comes off well ['is admirably done,' 'is capitally executed'; including the 
 technicality of art 'comes out well,' 'is well brought into relief] and excellent. — 
 Timon, i. i. 
 
 Now, this overdone, or come tardy off [' inefficiently performed '] , though it make the 
 unskilful laugh, cannot but make the judicious grieve. — Hamlet, iii. 2. 
 
 As, i' the contrary [' on the contrary,' ' on the other hand '], the foulness is the 
 punishment. — H. VIIL, iii. 2. 
 
 I do not find that thou dealest justly with me. — 
 
 What in the contrary ? [' on the contrary,' ' that is the contrary ']. — 0th., iv. 2. 
 
 The king's attorney, on the contrary [' on the other side'], urg'd on the examina- 
 tions, proofs, confessions of. — H. VIIL, ii. i. 
 
 I have to show to the contrary [' proving the reverse ']...! could show you to the 
 contrary. — Merry W., ii. i. 
 
 Whatever you may hear to the contrary [' in opposition to this '] let Claudio be exe- 
 cuted by four of the clock. — M.for M., iv. 2 (Note). 
 
 Yet our power shall do a courtesy to [' comply with,' ' gratify,' ' confer a favour 
 upon '] our wrath.— L«ar, iii. 7. 
 
 Now this mask was cried [' proclaimed,' ' pronounced '] incomparable. — 
 H. VIII., i. I. 
 
 Came to my tent, and cried on [' proclaimed,' ' announced '] victory. — R. III., v. 3. 
 
 This quarry cries on [' proclaims,' ' announces '] havoc. — Hamlet, v. 2. 
 
 Whose noise is this that cries on ['cries out,' ' proclaims'] murder? — 0th., v. i. 
 
 Why, who cries out on [' denounces,' ' exclaims against '] pride. 
 
 That can therein tax any private party ? — As You L., ii. 7. 
 
 His mangled Myrmidons, that, noseless, handless, hack'd and chipp'd, come to him, 
 crying on [' exclaiming against '] Hector. — Tr. <&■ Cr., v. 5. 
 
 Cried I aim ? * [' have I spoken encouragingly ? '] said I well ? — Merry W., ii. 3. 
 
 And to these violent proceedings all my neighbours shall cry aim [' give encourage- 
 ment,' ' applaud,' ' approve']. — Ibid., iii. 2. 
 
 It ill beseems this presence to cry aim 
 
 To these ill-tuned repetitions. — John, ii. i. 
 
 Now, if you can blush, and cry guilty ['confess yourself guilty,' 'plead guilty'], 
 cardinal. — H. VIII., iii. 2. 
 
 Shall of a corse cry woe [' lament,' ' exclaim wofuUy ']. — Lear, iii. 2. 
 
 And cry these dreadful summoners grace [' beseech grace of,' ' supplicate for mercy 
 from']. — Ibid., iii. 2. 
 
 / cry thee mercy ['I beg thy pardon,' ' I crave thy forgiveness or forbearance'], 
 then, for I did think, that thou hadst. — R. III., i. 3. 
 
 Cry the man mercy ; love him; take his offer. — As You L., iii. 5. 
 
 O, cry you mercy, sir ; I have mistook. — Two G. of V., v. 4. 
 
 Give me audience for awhile. — / cry you mercy. — i H. IV., i. 3. 
 
 Good master secretary, / cry your honour mercy. — H. VIIL, v. 2. 
 
 And, by that destiny, to perform an act. 
 
 Whereof what 's past is prologue ; what to come. 
 
 In yours and my discharge [' enacting,' 'performance']. — Temp., ii. i. 
 
 I will discharge it [' enact it,' ' perform it '] in either your straw-colour beard, your 
 orange-tawny beard. — Mid. N. D., i. 2. 
 
 * The folio misprints this, ' Cride-game ; ' but the passages above cited (one of 
 which occurs in the same play) of the expression " Cry aim," warrant the supposition 
 that a similar phrase was here used by Shakespeare. 
 
IDIOMS. 355 
 
 Not a man in all Athens able to discharge Pyramus [' enact or perform the part of 
 Pyramus ' ] but he. — Mid. N. D., iv. 2. 
 
 It would have been a fine tragedy : and so it is, truly ; and very notably discharged 
 ['enacted,' ' performed '].-r-/i!d., v. i. 
 
 I pray you, see him presently discharg'd ['see that my debt to him be immediately 
 discharged']. — Com. of E., iv. i. 
 
 Would we were all discharg'd.' ['that all the debts owing to us were discharged']. 
 — Timon, ii. 2. 
 
 Ay, ay, farewell; thy office is discharg'd ['thou hast discharged thine office']. — 
 2 H. VI., ii. 4. 
 
 Heaven shall be brib'd to do him justice ['see him righted,' 'accord him right'] and 
 revenge on you. — fohn, ii. i. 
 
 Thy arm may do thee justice ['achieve justice for thee'] . — Lear, v. 3. 
 
 To the health of our general ! — I am for it, lieutenant ; and I '11 do you justice 
 ['respond to you heartily 'J . — 0th., ii. 3. 
 
 And the high gods, to do you justice ['see justice done you,' 'see you righted'], 
 make their ministers of us. — Ant. &• C, iii. 5. 
 
 Let us be jocund : will you troll the catch you taught me, but while-ere ? — At thy 
 request, monster, I will do reason, any reason [' do rightly,' ' do justice to your request,' 
 ' do what is reasonable, anything in reason ']. — Temp., iii. 2. 
 
 I shall do that that is reason. ... I will do it as shall become one that would do 
 reason [ ' act rightly, justly, reasonably '] . — Merry W., i. i. 
 
 And do him right [' act justly by him'] that, answering one foul wrong, lives not to 
 act another. — M.for M., ii. 2. 
 
 If it do him right, then he hath wrong'd himself. — As You L., ii. 7. 
 
 Do me right [' respond to my challenge,' ' give me satisfaction'], or I will protest 
 your cowardice. — M. Ado, v. i. 
 
 Why, now you have done me right ['responded to me heartily']. Do me right. 
 ['pledge me, drink foot to foot with me, do justice to my toast ']. — 2 H. IV., v. 3. 
 
 My lord, in heart [' I drink to you in all heartiness,' ' I pledge you with all my 
 heart '] ; and let the health go round. — -Timon, i. 2. 
 
 Cup us [' let us pledge each other in brimming cups '], till the world go round, cup us, 
 till the world go round ! — Ant. &• C, ii. 7 {Song). 
 
 Come and crush a cup of wine [' toss off a glass of wine,' ' drain a goblet of wine ']. 
 —R. &■ Jul., i. 2. 
 
 Which the rather we shall be bless'd to do * [' glad to do,' ' happy to do '], if he 
 remember a kinder value. — Coriol., ii. 2. 
 
 Blessed are clouds to do as such clouds do ! — Love's L. L., v. 2. 
 
 And then we shall be blessed to do your pleasure. — John, iii. i. 
 
 Do your best wills, and make me bless'd to obey ! — Cym., v. i. 
 
 And then, I grant, we put a sting in him, 
 
 That at his will he may do danger [' do harm,' ' do mischief] with. — Jul. C, ii. i. 
 
 The neglecting it may do much danger [' produce much mischief,' ' work much 
 harm '].—R. 6- Jul., v. 2. 
 
 Take time to do him dead [' kill him,' ' put him to death ']. — ^3 H. VI., i. 4. 
 
 Done to death ['put to death,' 'killed'] by slanderous tongues. — M. Ado, v. 3 (Scroll). 
 
 Unless false Suffolk straight be done to death. — 2 H. VI., iii. 2. 
 
 By the stern lord Clifford done to death. — 3 H. VI.; ii. i. 
 
 To bar my master's heirs in true descent. 
 
 Heaven knows I will not do it to the death [' I will maintain till death my resolve 
 not to do it,' or ' I will not do it, were my refusal to cause my death ']. — R. III., iii. 2. 
 
 * In this passage the word " bless'd" has been variously altered by various emen- 
 dators ; but we think that the three other passages here cited and collected together, 
 where Shakespeare has used the same idiom, serve to prove that in the present instance 
 it is the one he employed. 
 
 2 A 2 
 
356 THE SHAKESPEARE KEY. 
 
 He that hath a will to die by himself [' die by his own hands '] fears it not from 
 another. — Coriol., v. 2. 
 
 I '11 die on him [' risk dying by his sword '] that says so, but yourself. — 
 Two G. of v., ii. 4. 
 
 To die upon the hand [' die by the hand '] I love so well — Mid. N. D., ii. 2. 
 
 When he shall hear she died upon his words [' died in consequence of his words '] 
 the idea of her life shall sweetly. — M. Ado, iv. i. 
 
 One that no persuasion can do good upon [ ' produce impression upon,' ' avail with ']. 
 — I H. IV., iii. I. 
 
 Well he may chance to do some good on her [' produce some impression upon her ']. 
 
 Who can do good on him? ['produce beneficial impression upon him'] — 
 M.for M,, iv. 2. 
 
 Faith, there has been much to do ['much ado, much fuss'] on both sides. — 
 Hamlet, ii. 2. 
 
 To have so much to do to bring him in ! — 0th., iii. 3. 
 
 I have much to do, but to go hang my head. — Ibid., iv. 3. 
 
 They fell sick and died — I could not do withal [' could not help it '] ; then I '11 
 repent, and wish. — Mer. of V., iii. 4. 
 
 A piece many years in doing ['in course of execution '] , and now newly performed by 
 that rare Italian master. — W. T., v. 2. 
 
 How have you done [' how have you been,' ' how has your health gone on '] since 
 last we saw in France 1—H. VIII., i. i. 
 
 But His doubt ["tis doubtful,' 'it is to be doubted'], when time shall call him 
 home . . . whether our kinsman. — R. II., i. 4. 
 
 Depress'd he is already; and depos'd. His doubt, he will be. — Ibid., iii. 4. 
 
 We '11 draw cuts [' draw lots,' ' decide by chance '] for the senior : till then lead thou 
 first. — Com. of E., v. i. 
 
 If we draw lots, he speeds. — Ant. &• C, ii. 3. 
 That man and wife draw lots, who first shall die. — Per., i. 4. 
 
 As he drains his draughts of Rhenish dow7i [' swills,' ' swallows,' ' drinks ']. — 
 Hamlet, i. 4. 
 
 Well drawn [' well drained, or drunk off at a draught,' ' well swigged or swilled ' ; 
 (modern) 'well pulled'], monster, in good sooth. — Temp., ii. 2. 
 
 The lines of my body are as well drawn [' well designed,' ' well moulded '] as his. — 
 Cym., iv. i. 
 
 Why are you drawn ? [' are your swords drawn '] Wherefore this ghastly looking ? 
 — Temp., ii. i. 
 
 well-a-day, lady, if Ac be not drawn ! [' his sword be not drawn ']. — H. V., ii. i. 
 What, art thou drawn [' is thy sword drawn '] among these. . . . 
 
 What, drawn, and talk of peace ! — R. &• yuL, i. i. 
 
 1 never come into any room in a tap-house, but I am drawn in [' taken in,' ' duped,' 
 ' befooled,' ' tricked ']. — M.for M., ii. i. 
 
 Shall draw him on [' lure him on,' ' beguile him '] to his confusion.— JWaci., iii. 5. 
 
 So by your companies to draw him on ['beguile him,' 'induce him,' 'persuade him'] 
 to pleasures, and to gather. — Hamlet, ii. 2. 
 
 Draw [' draw to,' ' close '] the curtains. — Mer. of V., ii. 7. 
 
 Come, draw the curtain, Nerissa. — Ibid., ii. 9. 
 
 Do not draw the curtain ... I '11 draw the curtain . . . Shall I draw the curtain ? 
 -W. T., V. 3. 
 
 Make no noise ; draw the curtains ; so, so, so. — Lear, iii. 6. 
 
 Quick, quick, I pray thee ; draw [' draw back,' ' draw aside '] the curtain straight : 
 the prince of Arragon. — Mer. of V., ii. 9. 
 
 We will draw the curtain, and show you the picture. — Tw. A'., i. 5. 
 
 Draws a curtain, that shows the ignorant a kind of. — i H. IV., iv. i. 
 
IDIOMS. 357 
 
 Come, draw the curtain, and let 's see your picture. — Tr. &• Cr., iii. 2. 
 
 For an end [' to this end,' 'for this purpose '], we must suggest the people in what 
 hatred he still hath held them. — CorioL, ii. i. 
 
 A slave, that still an end [' perpetually,' ' never-endingly '] turns me to shame. — 
 Two G. of v., iv. 4. 
 
 But, to make an end ['conclude my story '] of the ship. — W. T., iii. 3. 
 
 Without an oath, I '11 make an end on 't [' conclude the song']. — Hamlet, iv. 5. 
 
 My lord, and I have made an end [' come to the end of all his money '] : I have no 
 more to reckon, he to spend. — Timon, iii. 4. 
 
 O, make an end [' complete,' ' finish '] of what I have begun. — Ant. &• C, iv. 12. 
 
 He 'd make an end of [' destroy '] thy posterity. — CorioL, iv. 2. 
 
 They say, he made a good end [' died peacefully']. — Hamlet, iv. 5. 
 
 My hair be fixed on end [' upright '], as one distract. — 2 H. VI., iii. 2. 
 
 My hair doth stand on end to hear her curses. — R. III., i. 3. 
 
 And each particular hair to stand on end, like quills. — Hamlet, i. 5. 
 
 Your bedded hair . . . starts up, and stands on end. — Ibid., iii. 4. 
 
 The cardinal is the end [' is the ultimate cause,' ' is at the bottom '] of this. — 
 H. VIII., ii. I. 
 
 The fame which he did end all his [' end by making all his,' ' in the end, make all 
 his']. — CorioL, v. 5. 
 
 There 's in him stuff that pits him to these ends [' inspires him with using these 
 means ']. — H. VIII., i. i. 
 
 And when I did correct him for his fault the other day, he did vow upon his knees he 
 would be even with me [' give me as good as he got,' ' have his revenge.' See " to bring,'' 
 previously cited under the present heading]. — 2 H. VI., i. 3. 
 
 He nods at us, as who should say, I '11 be even with you [' be revenged on you ']. — 
 Ibid., iv. 7. 
 
 I will be even with thee, doubt it not. — Ant. &• C, iii. 7. 
 
 We shall not spend a large expense of time. 
 
 Before we reckon with your several loves 
 
 And make us even with you [' acquit the debt we owe you ']. — Macb., v. 7. 
 
 Till / am even'd with him [' have my reprisal with him'], wife for wife. — 0th., ii. i. 
 
 That / can match her [' be even with her,' ' give her as good as she brings,' ' equal 
 her in contest '].-r-.A/«''. N. D., iii. 2. 
 
 My father is here look'd for every day ['at any moment,' 'very soon']. — 
 Tarn, of S., iv. 2. 
 
 I every day expect an embassage from my. — R. III., ii. i. 
 
 We every day expect him here. — Per., iv. i. 
 
 Why, every day* [' ever after,' ' evermore,' ' always,'] to-morrow. — M. Ado, iii. i. 
 
 For the rain it raineth every day [' constantly,' ' perpetually ']. — Tw. N., v. i [Song). 
 
 Though the rain it raineth every day. — Lear, iii. 2 (Song). 
 
 Every day, some sailor's wife, the masters of some merchant.^r^w^., ii. i. 
 
 Many young gentlemen flock to him every day. — As You L., i. i. 
 
 Hearing how that every day men of great worth resorted to this forest. — Ibid., v. 4. 
 First, it was usual with him, every day 
 It would infect his speech. — H. VIII., i. 2. 
 
 This news is old enough, yet it is every day's [' ordinary,' ' common,' ' modern," 
 ' usual']. — il.for M., iii. 2. 
 
 * In many editions this passage is printed with a break between "day "and "to- 
 morrow;" but in the Folio it is printed as we give it in the text; and we believe that 
 the speaker (Hero) means to say, ' Why, to-morrow I shall be ever after married,' 
 in sportive reply to Ursula's asking " When are you married ? " instead of, ' When are 
 you to be married ? ' 
 
358 THE SHAKESPEARE KEY. 
 
 You may have every day [' any day,' ' whenever you pleass '] enough of Hector. — 
 Tr. & Cr., iv. 5. 
 
 Do not you know my lady's foot by the squire ? [ ' have you not the length of my 
 lady's foot,' ' do you not know her humour exactly '] and laugh upon the apple of her 
 eye ? [' laugh in accordance with her directing glance']. — Love's L. L., v. 2. 
 
 We shall express our duty in his eye [' in his presence ' ; this was according to a 
 state formula used in Shakespeare's time]. — Hamlet, iv. 4. 
 
 Hop in his walks, and gambol in his eyes [' frolic in his sight ']. — Mid. N. D., iii. i. 
 
 Her gentlewomen . . . tended her i' the eyes ['waited upon her looks,' 'attended in her 
 sight'], and made their bends adornings. — Ant. &• C, ii. 2. 
 
 I am now so far in offence [' so deeply in disgrace from having offended '] with my 
 niece. — Tw. N., iv. 2. 
 
 I am so far already in [' so deeply indebted already for'] your gifts. — Timon, i. 2. 
 
 All fast .> [' all the doors fastened '] what means this ? Ho ! — H. VIII., v. 2. 
 
 The gates made fast ! [' fastened '] — 3 H. VI., iv. 7. 
 
 I will make fast [' fasten '] the doors. — Mer. of V., ii. 6. 
 
 Now, Montague, sit fast [' remain where thou art,' ' be firm,' ' stand fast '] ; I seek for 
 thee.— 3 H. VI., v. 2. 
 
 Stand fast ; we have as many friends as enemies. — Coriol., iii. i. 
 
 Standfast [' remain firm,' ' be constant '], good fate, to his hanging ! — Temp., i. i. 
 
 0, Lewis, standfast ! the devil tempts thee here. — John, iii. i. 
 
 If you '11 standfast, we '11 beat them to. — Coriol., i. 4. 
 
 Standfast [' remain firmly united here'] together, lest some. — Jul. C, iii. i. 
 
 There is no fear in him [' no danger,' ' nothing for us to fear in him '] ; let him not 
 die. — yul. C, ii. i. 
 
 I promise you, I fear you [' I fear for you ']. — Mer. of V., iii. 5. 
 
 You shall not need to fear me ['fear for me ']. — All's W., iii. 5. 
 
 His physicians /car him [' fear for him '] mightily .^i?. III., i. i. 
 
 Let him go, Gertrude; do not fear our person [' fear for our person ']. — Hamlet, iv. 5. 
 
 He was mnchfear'd [' feared for '] by his physicians. — i H. IV., iv. i. 
 
 Would we were all discharg'd ! I fear it [' fear that we shall not be discharged,' or 
 ' paid ']. — Timon, ii. 2. 
 
 We must away all night. — Tut, never fear me ['fear my not doing as I ought to do']. 
 —I H. IV., iv. 2. 
 
 Fear not that [' fear not but I '11 do that '], I warrant thee. — 2 H. VI., iv. 3. 
 
 How ! turn thy back, and run ? — Fear me not [' do not fear but that I shall do what 
 I ought to do '].— iJ. &■ Jul., i. I. 
 
 0,fear me not [' do not fear that I shall do what I ought not to do ']. — Hamlet, i. 3. 
 
 Be not familiar with her. — Fear me not. — Lear, v. i. 
 
 Fear not our care [' fear not our want of care '], sir. — Coriol., i. 7. 
 
 And of their feather [' of their kind,' ' of their sort '] many more proud birds. — 
 3 H. VI., ii. I. 
 
 Both of you are birds of self -same feather [' of similar kind ']. — Ibid., iii. 3. 
 
 I am not of that feather [' of that kind '], to shake off my friend. — Timon, i. i. 
 
 E'en a crow 0' the same nest [' of the same kind ']. — All's W., iv. 3. 
 
 A bird of my tongue [' of my mode of speech '] is better than a beast of yours. — 
 M. Ado, i. I. 
 
 The composition that your valour and fear makes in you is a virtue of a good ucing 
 ['strong in flight']. — All's W., i. i. 
 
 My purpose is, indeed, a horse of that colour ['of that kind,' 'of that species']. — 
 Tw. N., ii. 3. 
 
 Sport ? Of what colour ? [' of what sort ']. — As You L., i. 2. 
 
 As boys and women are, for the most part, cattle of this colour ['of this kind']. — 
 Ibid,, iii. 2. 
 
IDIOMS. 359 
 
 This is a fellow of the self -same colour ['of the same kind'] our sister speaks of. — 
 Lear, ii. 2. 
 
 Not that our heads are some brown, some black, some auburn, some bald, but that 
 our wits are so diversely coloured [' of such different kinds']. — Coriol., ii. 3. 
 
 Curses all Eve's daughters, of what complexion ['of what kind,' ' of what character'] 
 soever. — Merry W., iv. 2. 
 
 What kind of woman is 't? — Of your complexion ['of your general appearance']. — 
 Tw. N., ii. 4. 
 
 Should she fancy, it should be one of my complexion [' of my general appearance ']. — 
 — Ibid., ii. 5. 
 
 Belike this is a man of that quirk [' addicted to such whims,' ' of that kind of dispo- 
 sition ']. — Ibid., iii. 4. 
 
 I will show myself highly fed [' well trained,' ' well brought up,' \ well educated,' 
 ' superiorly bred ' ; and (punningly) ' pampered,' ' nourished with dainties and tit-bits '] 
 and lowly taught.' — AlVs W., ii. 2. 
 
 A good knave, i' faith, and well fed [' well trained,' ' well taught his tricks of word- 
 catching as a professional jester 'J. — Ibid., ii. 4. 
 
 In what he did profess, well found f [' well versed,' ' well grounded in the knowledge 
 of,' 'thoroughly skilled']. — Ibid., ii. i. 
 
 The present consul, and last general. 
 
 In our well-found [' favourably received,' ' approvingly accepted '] successes, to report 
 a little of that worthy work. — Coriol., ii. 2. 
 
 As a schoolmaster well seen [' well versed,' ' skilled,' ' practised,' or ' grounded '] in 
 music, to instruct Bianca. — Tarn, of S., i. 2. 
 
 I believe, it is a fetch of warrant [' a warrantable contrivance,' ' an allowable trick 
 or stratagem']. — Hamlet, ii. i. 
 
 And, like a shifted wind unto a sail, 
 
 It makes the course of thoughts to fetch about [' veer,' ' turn about,' ' change 
 direction ']. — John, iv. 2. 
 
 Till tongues fetch breath [' take breath,' ' pause for an instant '] that may proclaim 
 them louder. — Per., i. 4. 
 
 Hark, how hard he fetches breath [' breathes,' ' snores']. — i H. IV., ii. 4. 
 
 She does so blush, and fetches her wind [' breathes,' ' pants,' ' gasps '] so short, as if 
 she were frayed with a sprite . . . she fetches her breath as short as a new-ta'en 
 sparrow. — Tr. &• Cr., iii. 2. 
 
 And his own letter, the honourable board of council out, must fetch him in [' must 
 bring him in,' ' must include him whom'] he papers. — H. VIII., i. i. 
 
 Within our files there are, of those that serv'd Mark Antony but late, enough to 
 fetch him in [' take him,' ' capture him,' ' defeat him ']. — Ant. <&■ C, iv. i. 
 
 Might break out, and swear he 'd fetch us in [' take us,' ' capture us,' ' defeat us ']. — 
 Cym., 4. 2. 
 
 You speak this to fetch me in [' entrap me,' ' take advantage of me.' See " drawn in '' 
 previously cited], my lord. — M. Ado, i. i. 
 
 Let's fetch him off ['rescue him,' 'get him back'], or make remain alike. 
 — Coriol; i. 4. 
 
 Let him fetch off [' rescue,' ' redeem,' ' bring back '] his drum. — All's W., iii. 6. 
 
 And will fetch off [' take off,' ' murder '] Bohemia for 't. — W. T., i. 2. 
 
 * The clown uses " lowly taught" (for the sake of antithesis) in the sense of ' taught 
 to be humble, deferential, or respectful.' 
 
 f "Well found" in this passage has been interpreted by some commentators to 
 mean the same as " well-found " in " Coriolanus " ; but we believe that Shakespeare 
 here used " well found " in a kindred sense with the idiom (usual in his time) of " well 
 seen," which he employs in " The Taming of the Shrew," act i., sc. 2 ; though, in 
 Shakespeare's inclusive mode of using words, he may have intended the expression to 
 include both significations, inasmuch as both perfectly suit the present passage. 
 
36o THE SHAKESPEARE KEY. 
 
 As I return, I will fetch off [' bring away with me ' : with the included meaning of 
 ' entrap,' ' ensnare,' ' take advantage of] these justices. — 2 H. IV., iii. 2. 
 
 I '11 fetch a turn [' take a turn '] about the garden. — Cym., i. 2. 
 
 Youthful and unhandled colts fetching mad bounds [' taking wild leaps '], bellowing, 
 and neighing loud. — Mer. of V., v. i. 
 
 In the soldier is fiat ['downright,' 'absolute'] blasphemy. — M.for M., ii. 2. 
 
 The^at [' downright,' ' out and out'] transgression of a schoolboy. — M. Ado, ii. i. 
 
 A goose, that 's fiat [' positive,' ' certain ']. — Love's L. L., iii. i. 
 
 I '11 not march through Coventry with them, that 's flat [' sure,' ' positive ']. — 
 I H. IV., iv. 2. 
 
 Should dying men flatter n'ith [' flatter '] those that live ? — R. II., ii. i. 
 
 None of these rogues and cowards, but Ajax is their fool [' is a fool to them,' ' is a 
 fool in comparison with them for courage ']. — Lear, ii. 2. 
 
 Now this mask was cried incomparable ; and the ensuing night made it a fool and 
 beggar [' made it seem poor and contemptible in comparison with the succeeding one '] . 
 —H. VIII., i. I. 
 
 What is he for a fool [' what kind of fool is he '] that betroths himself. — 
 M. Ado, i. 2. 
 
 Out, fool ! I forgive thee for a witch [' I acquit thee of being a witch,' ' I '11 warrant 
 thee for being no witch']. — Ant. &• C, i. 2. 
 
 Well, sir, in brief, the gown is not for me [' not to be purchased by me,' ' not to ray 
 taste']. — Tam. of S., iv. 3. 
 
 Well, a horn for my money [' is the instrument to my taste'], when all's done. — 
 M. Ado, ii. 3. 
 
 The wars for my money ['are what best please me,' 'are most to my taste']. — 
 Coriol., iv. 5. 
 
 I '11 take the ghost's word/oj- a thousand pound [' staking a thousand pounds on its 
 truth ']. — Hamlet, iii. 2. 
 
 How now ! a rat ? Dead, /or a ducat [' staking a ducat that I have hit him '], dead ! 
 — Ibid., iii. 4. 
 
 For and [' and eke,' ' and also'], a shrouding sheet. — Ibid., v. i (Song). 
 
 Forbear me [' leave me,' ' withdraw']. — Ant. &• C, i. 2. 
 
 Forbear me [' cease speaking and leave me '] till anon. — Ibid., ii. 7. 
 
 We must forbear [' break off our conversation and withdraw']; here comes the 
 gentleman. — Cym,, i. i. 
 
 Your oath once broke, yon force not ['care not,' 'regard not,' 'lay no stress upon,' 
 ' pay no heed '] to forswear. — Love's L. L., v. 2. 
 
 For ipe, \ force not ['heed not,' 'regard not,' 'care not for'] argument a straw, 
 since that my case is past the help of law. — Lucrece, Stanza 146. 
 
 We must of force [' of course,' ' of necessity,' ' necessarily '] dispense with this 
 decree. — Love's L. L., i. i. 
 
 That, when he wak'd, of force she must be ey'd. — Mid. N. D., iii. 2. 
 
 But of force must yield to such inevitable shame. — Mer. of V., iv. i. 
 
 Dear sir, of force I must attempt you farther. — Ibid., iv. i. 
 
 Who, offeree, must know the royal fool thou cop'st with. — W. T., iv. 3. 
 
 Will this content you, Kate ? — It must, of force. — i H. IV., ii. 3. 
 
 Good reasons must, of force, give place to better. — ^ul. C, iv. 3. 
 
 Those occasions, uncle, were of force [' of weight,' ' momentous,' ' availing'] ; there- 
 fore, my loving lords. — i H. VI., iii. i. 
 
 And lo, where George of Clarence sweeps along. 
 
 Of force [' provided with forces,' ' with strength,' ' efficiently and availingly sup- 
 ported '] enough to bid his brother battle. — 3 H. VI., v. i. 
 
 And, force perforce, [' in spite of resistance,' ' strength for strength,' ' force pitted 
 against force '] keep Stephen Langton. — John, iii. i. 
 
 VVz.s, force perforce, compell'd to banish him. — 2 H. IV., iv. i. 
 
IDIOMS. 361 
 
 As, force perforce, the age will pour it in. — 2 H. IV., iv. 4. 
 Axii, force perforce, I '11 make him yield the crown. — 2 H, VI., i. i. 
 And require my dukedom of thee, which, perforce [' of necessity,' ' inevitably '], I 
 know, thou must restore. — Temp., v. i. 
 
 Your health, the which, if you give o'er to stormy passion, must perforce decay. — 
 
 1 H. IV., i. I. 
 
 I -m-asX perforce compound with mistful eyes. — H. V., iv. 6. 
 
 Perforce must wither . . . humanity must perforce prey on itself, like monsters of 
 the deep. — Lear, iv. 2. 
 
 He rush'd into my house, and took perforce [' by compulsion,' ' by violence '] my 
 ring away. — Com. of E., iv. 3. 
 
 And take perforce my husband from the abbess. — Ibid., v. i. 
 
 What he hath taken away from thy iather perforce. — As You L., i. 2. 
 
 Betroth'd, and would have married her perforce. — R. &* Jul., v. 3. 
 
 And from him give you all greetings that a king, at friend, [' at amity,' ' on terms of 
 friendship '], can send his brother. — W. T., v. i. 
 
 I know that we shall have him well to friend [' to be our friend,' ' for friend']. — 
 Jul. C, iii. I. 
 
 As I shall find the time to friend [' befriend me,' ' be favourable or propitious to 
 me ']. — Macb., iv. 3. 
 
 Had I admittance, and opportunity to friend ['to be my friend,' 'to befriend me']. — 
 Cyin., i. 5. 
 
 To crave the French king's sister to wife [' as a wife '] for Edward. — 3 H. VI., iii. i. 
 
 A woman that lord Brutus took to wife. — yitl. C, ii. i. 
 
 With dirge in marriage . taken to wife . — Hamlet, i. 2. 
 
 Is Warwick friends with ['on friendly terms with'] Margaret ? — 3 H. VI., iv. i. 
 
 Friends am I with [' I am friendly towards '] you all. — yal. C, iii. i. 
 
 The noble gentleman gave up the ghost [' expired ']. — 3 H. VI., ii. 3. 
 
 Our army lies, ready to give up the ghost [' expire '1. — Jul. C, v. i. 
 
 These news would cause him once more yield the ghost. — I H. VI., i. i. 
 
 And often did I strive to yield the ghost. — R. III., i. 4. 
 
 I '11 grow a talker for this gear [' for the sake of this thathas just been mentioned ']. — 
 Mer. of v., i. i. 
 
 She 's a good wench for this gear [' for the sake of this that I have been men- 
 tioning']. — Ibid., ii. 2. 
 
 But I will remedy this gear ['settle this business,' 'redress this affair'] ere lone. — 
 
 2 H. IV., iii. I. 
 
 Will this gear ne'er be mended? ['is there no remedy for this matter']. — 
 Tr. &• Cr., i. i. 
 
 An she be not, she has the mends in her own hands [' she must find the remedy in 
 her own patience,' ' she must bear it as well as she can ']. — Ibid., i. i. 
 
 If they get ground [' gain advance '] and vantage of the king. — 2 H. IV., ii. 3. 
 
 I should get ground [' gain advantage 'J of your fair mistress. — Cym., i. 5. 
 
 And I will strive with things impossible ; 
 
 Yea, get the better [' conquer,' ' get the upper hand '] of them.— ^hZ. C, ii. i. 
 
 Should so get the start of ['prevail over,' 'rise above,' 'go beyond'] the majestic 
 world, and bear the palm alone. — Ibid., i. 2. 
 
 Some get within him ['get within his guard,' 'close with him'] ; take his sword 
 away. — Com. of E., v. i. 
 
 And to offer to get your living [' gain your bread'] by the. — As You L., iii. 2. 
 
 Buy food, and get thyself in flesh [' grow fatter ']. — R. &• Jul., v. i. 
 
 Get thee gone ['be gone,' ' go'], and hire those horses. — Ibid., v. i. 
 
 Stay not to answer rae, but get thee gone.— Jul. C, ii. 4. 
 
 Get you gone ; and hasten your return. — Lear, i. 4. 
 
362 THE SHAKESPEARE KEY. 
 
 He added to your having — gave you some ground [' allowed you to advance upon 
 him,' 'let you gain some advantage over him 'J. — Cym., ii. 3. 
 
 As proper a man as ever went on four legs cannot make him give ground [' flinch,' 
 ' draw back,' ' allow advantage to be taken ']. — Temp., ii. 2. 
 
 Give ground [' recede a little '], if you see him furious. — Tw. N., iii. 4. 
 
 Their points being broken . . . Began to give me ground : but I followed me close, 
 came in. — i H. IV., ii. 4. 
 
 Richard cried, " Charge ! and give no foot of ground ! " [' do not recede a single 
 foot'].— 3 H. VI., i. 4. 
 
 Giving no ground [' giving no advantage,' ' yielding no jot '] unto the house of 
 York.— Ibid., ii. 6. 
 
 If he come to-morrow, I '11 give him his payment [' pay him out,' ' give him a settler,' 
 ' do for him']. — As You L., i. i. 
 
 I '11 make them pay ; I '11 sauce them. . . . I'll sauce them [' treat them to a heavy 
 reckoning']. — Merry W., iv. 3. 
 
 As fast as she answers thee with frowning looks, I '11 sauce her [' treat her to a 
 bespattering '] with bitter words. — As You L., iii. 5. 
 
 Why, then, the devil give him good of it ! [' give him the benefit of it,' ' give him 
 advantage from it 'J. — Mer. of V., iv. i. 
 
 Much good dich thy good heart [' much good may it do thy good heart '] , Apemantus ! 
 — Timon, i. 2. 
 
 After this process, to give her the avaunt ['give her dismissal,' ' bid her begone ']. — 
 H. VIII., ii. 3. 
 
 Nay, give me not the boots [' don't mock me ' ' don't pretend to give me advantage ']. 
 — Two G. of v., i. I. 
 
 I give thee the bucklers [' give thee the honours of the contest,' ' I yield,' ' I own myself 
 defeated']. — M. Ado, v. 2. 
 
 What will you give us ? No money, on my faith ; but the gleek [' to give the gleek ' 
 meant ' to tip one a gibe,' ' to fling one a jest '], I will give you the minstrel [' twit you 
 with being a minstrel ']. — Then willl give you the serving-creature [' twit you with being 
 a servant']. — R. <&• jful., iv. 5. 
 
 Give me your hands [' give me vour applause,' ' clap your hands '] if we be friends. — 
 Mid. N. D.. V. 2. 
 
 Will he give you the nod } [' give you a careless salutation,' ' cut you,' ' call you, by 
 inference, a noddy,' ' treat you as a simpleton,' ' imply that he will have nothing to do 
 with you ']. — Tr. &• Cr., i. 2. 
 
 I say, she did nod ; and you ask me if she did nod; and I say, I. And that set 
 together, is, — noddy. — Two G. of V., i. i. 
 
 Give me the lie [' call me liar.' • taunt me with being a liar '], do ; and try vAether I 
 am not now a gentleman born. — IF. T., v. 2. 
 
 Who would give a bird the lie. though he cry. — Mid. N. D., iii. i. 
 
 Give me the lie another time. — I did not give the lie. — Temp., iii. 2. 
 
 And, giving him the lie, leaves him. — I believe, drink gave thee the lie [punningly : 
 ' laid thee on the floor' and 'made thee lie long and late 'J. — Macb., ii. 3. 
 
 Give me your favour [' forgive me,' 'pardon my inattention,' ' give me your favour- 
 able construction,' ' give me your indulgence']. — Ibid., i. 3. 
 
 Give me pardon [' I beg your pardon,' ' pardon me,' ' excuse me '], sir ; if, sir, you 
 come with news from the court. — 2 H. IV., v. 3. 
 
 Yet I can give you inkling [' give you a hint,' ' give you a glimpse '] of an ensuing 
 evil.— H. VIII., ii. i. 
 
 They have had inkling [' had a hint or glimpse'] this fortnight what we intend to 
 do. — Coriol., i. i. 
 
 If he give me way [' give way to me,' ' give me my way,' ' give me a hearing '] I "11 
 do his country service. — Ibid., iv. 4. 
 
 Shall we give o'er [' give up,' ' cease our efforts '] and drown ? — Temp., i. i. 
 
 Let her remain ; but I '11 ne'er give o'er. — Cym,, ii. 3. 
 
IDIOMS 363 
 
 You scorn to believe me ; 'twere best I did give o'er. — Per., v. i. 
 Have the pioneers given o'er ? — H. V., iii. 2. 
 Who, half through, gives o'er, and leaves his. — 2 H. IV., i. 3. 
 Give 't not o'er so : to him again, entreat him. — M.for M., ii. 2. 
 Send her another ; never give her o'er [' cease your efforts to obtain her,' ' give her 
 up '].— Tico G. 0/ F., iii. I. 
 
 These vows are Hermia's : will you give her o'er ? . . . now you give her o'er [' give 
 her up ']. — Mid. N. D., iii. 2. 
 
 The visitor will not give him o'er [' cease importuning him,' ' refrain from remon- 
 strating with him '] so. — Temp., ii. i. 
 
 Master Fenton, talk not to me; my mind is hea\7: I will give over ['give up,' 
 ' yield hope of] all. — Merry W., iv. 6. 
 
 To live quietly, and so give over. — Why, to give over [' give up business,' ' cease 
 from earning'], I pray you ? — Per., iv. 3. 
 
 To embrace your own safety, and give over [' relinquish '] this attempt. — As 
 You L., i. 2. 
 I will give over [' cease '] my suit, and repent. — 0th., iv. 2. 
 
 To give you over [' leave you,' ' quit you '] at this first encounter, unless you will 
 accompany me thither. — Tarn, of S., i. 2. 
 
 But thou art ' altogether given over ['given up as hopeless,' 'reprobate,' 'lost to 
 grace,' ' abandoned to wickedness,' ' forsaken ']. — i H. IV., iii. 3. 
 
 I have given over [' ceased,' ' given up urging '], I will speak no more. — 2 H. IV., ii. 3- 
 My crown I should give off [' yield,' ' resign,' ' give up ']. — John, v. i. 
 Follow the noise so far as we have quarter ; 
 
 Let 's see how it will give off [' give over,' ' leave off'], — Ant. &• C, iv. 3. 
 I thought ye would never have given out [' given up,' ' yielded,' ' surrendered,' 
 ' resigned 'J these arms till you had recovered your ancient freedom. — 2 H. VI., iv. 8. 
 
 Two on 's are as good as I have given out ['proclaimed,' 'asserted'] him. — 
 Cym., V. 5. 
 
 'Tis given out ['reported,' ' asserted '], that, sleeping in mine orchard, a serpent 
 stung me. — Hamlet, i. 5. 
 
 This is the monkey's own giving out ['reporting,' 'proclaiming'] : she is persuaded 
 I will marry her. — 0th., iv. i. 
 
 The duke is virtuous, mild, and too well given [' well disposed,' ' well inclined '] to 
 dream on evil, or to work my downfall. — 2 H. VI., iii. i. 
 
 He 's not dangerous, he is a noble Roman, and ivell given. — Jul. C, i. 2. 
 An he had been c^nnihaWy given ['inclined,' 'disposed'], he might have broiled and 
 eaten him too. — CorioL, iv. 5. 
 If she had been a woman cardinally* g^'uew. — M.for M., ii, 2. 
 If that man should be lewdly given, he deceiveth me. — i H. IV., ii. 4. 
 A very honest woman, but something given [' apt,' ' prone,' ' subject,' ' liable,' ' in- 
 clined '] to lie. — Ant. &■ C, v. 2. 
 Lord, lord, how this world is given to lying! — i H. IV., v. 4. 
 Lord, lord, how subject we old men are to this vice of lying ! — 2 H. IV., iii. 2. 
 I am not prone to weeping, as our sex commonly are. — W. T., ii. i. 
 And as prone to mischief as able to perform 't. — H. VIII., i. i. 
 O world, how apt the poor are to be proud ! — Ta. A'., iii. i. 
 Yet if my name were liable to fear. — Jul. C, i. 2. 
 
 For he is given [' addicted '] to sports, to wildness, and much company. — Ibid., ii. i. 
 And lovers are given to poetry. — As You L., iii. 3. 
 
 * "Cardinally" is constable Elbow's blunder for 'carnally;' there being double 
 humour in the substituted word, since it suggests the ' cardinal virtues,' instead of the 
 sins he proceeds to enumerate. 
 
364 THE SHAKESPEARE KEY. 
 
 If thou wert any way given to virtue. — i H. IV., iii. 3. 
 
 And given unto the house of York such head [' given such power, such dominion,' 
 and ' given such licence, such freedom from restraint ' ; this latter included sense is in 
 accordance with the idiomatic phrase, ' to give a horse his head,' signifying ' to let him 
 have his own way']. — 3 H. VI., i. i. 
 
 Fellow, give place [' begone.' ' leave the place '] ; here is no longer stay. — 
 R. II., V. 5. 
 
 Give place [' give up thy place to me,' 'yield thy place '] : by heaven, thou shalt rule 
 no more o'er him whom. — 3 H. VI., v. i. 
 
 Sirrah, give place [' make way,' ' make room,' ' stand back']. — jfiil. C, iii. i. 
 
 Give us the place alone [' leave us alone,' ' withdraw '] : we will hear this divinity. — 
 Tw. N., i. 5. 
 
 But in what habit will you^o along ? ['go on your way,' 'travel'].— Tivo G.o/V.,ii.j. 
 
 Come, go along [' go away,' ' be gone '] ; my wife is coming. — Com. of E., iv. 4. 
 
 Demetrius and Egeus, go along [• go with me ']. — Mid, N. D., i. i. 
 
 Come, go along [' go with us '], and see the truth. — Tarn, of S., iv. 5. 
 
 Widow, go you along [' go with us '] : lords, use. — 3 H. VI., iii. 2. 
 
 Huntsman, what say'st thou ? wilt thou go along.'' — Ibid., iv. 5. 
 
 Soft ! I will go along [' go with you ']. — R. (&■ ^nl., i. i. 
 
 I '11 go along, no such sight to be shown, but to. — Ibid., i. 2. 
 
 Gallus, go you along [' go with him ']. — Ant. &' C, v. i. 
 
 Good Metellus, go along by him [' go by the way of his house,' ' go round by his 
 house ']. — yul. C, ii. i. 
 
 If that thy gentry, Britain, go before [' excel '] 
 
 This lout, as he exceeds our lords. — Cym., v. 2. 
 
 I was then a young traveller ; rather shunned to go even with [' acquiesce with,' 
 ' form my own conduct upon,' ' accede to 'J what I heard, than in my every action to 
 be guided by others' experiences. — Ibid., i. 5. 
 
 Were you a woman, as the rest goes even ['accords,' 'coheres,' 'coincides,' 'is 
 smoothly consistent 'J, I should. — Tw. N., v. i. 
 
 In what key shall a man take you, to go in the song [' sing correctly with you,' ' speak 
 in the same tune 'J. — M. Ado, i. i. 
 
 It shall go hard [' things shall come to a bad pass with me,' ' matters shall be 
 difficult indeed '], but I '11 prove it by another. — Two G. of V., i. 1. 
 
 And it shall go hard, but I will better the instruction. — Mer. of V., iii. i. 
 
 It shall go hard, if Cambio go without her. — Tarn, of S., iv. 4. 
 
 And it shall go hard, but I will delve one yard below their mines.^Hamlet, iii. 4. 
 
 If law, authority, and power deny not. 
 
 It will go hard [' it will come to a difficult pass,' ' it will fall out fatally '] with poor 
 Antonio. — Mer. of V., iii. 2. 
 
 When a man's servant shall play the cur with him, look you, it goes hard [' it is a 
 hard case ']. — Two G. of V., iv. 4. 
 
 My life, sir! how, I pray? for that goes hard ['that would be a hard case']. — 
 Tain, of S., iv. 2. 
 
 What, not an oath ? nay then, the world goes hard [' it is a hard case,' ' it comes to 
 a fine pass'], when Clifford cannot spare his friends an oath. — 3 H. VI., ii. 6. 
 
 There is an old tale goes [' current '] that Heme the hunter. — Merry W., iv. 4. 
 
 I do presume, sir, that you are not fall'n 
 
 From the report that goes [' is current '] upon your goodness. — All's W., v. i. 
 
 The story then goes false ['is falsely reported '], you threw it him out of a casement. 
 — Ibid., v. 3. 
 
 What was his cause of anger ? — The noise goes [' the report is,' ' it is said,' ' they 
 say'], this : there is among.— Tr. &• Cr., i. 2. 
 
 At least the whisper goes so. — Hamlet, i. i. 
 
 The cry goei, that you shall marry her. — 0th., iv. i. 
 
IDIOMS. 365 
 
 Thus it goes [' thus it runs,' ' this is its tenor '].—As You L., ii. 5. 
 
 A passing merrv one, and goes to the tune [' is set to the tune,' ' is adapted to the 
 tune '] of " Two Maids."— H'. T., iv. 3. 
 
 Who goes there [' who is that passing by'], ha ? — Tarn. o/S., i. 2. 
 
 Who goes there ? — A friend. — H. V., iv. i. 
 
 Who goes there ? — Stay, or thou diest. — 3 H. VI., iv. 3. 
 
 What 's he that goes there ? — Falstaff, an 't please. — 2 H. IV., i. 2. 
 
 We shall write to you . . . how it goes with lis [' how we are going on,' ' what is 
 happening to us 'J. — M.for M., i. i. 
 
 Lucius hath wrote already to the emperor 
 
 How it goes [' what is going on ' or ' occurring '] here. — Cyjn., iii. 5. 
 
 How goes it ['what is going on,' ' what is happening ' ] now, sir ? — W. T., v. 2. 
 
 Be not a niggard of your speech : how goes it ? — When I came hither. — Macb., iv. 3. 
 
 How goes it here ? — All dead. — Ant. &• C, v. 2. 
 
 How goes it [' how is all going on '] with my brave Mark Antony.? — Ibid., i. 5. 
 
 How goes it now ? he looks gentler than he did. — 0th., iv. 3. 
 
 Bring me word how 'tis with her [' how she is,' ' how she is going on ']. A fever with 
 the absence of her son. — Cym., iv. 3. 
 
 Tell me, how goes the world? ['what is there going on,' ' what news is there abroad']. 
 — Tarn, of S., iv. i. 
 
 I have not seen you long: how goes the world? — Timon, i. i. 
 
 How goes the world, sir, now ? — Macb., ii. 4. 
 
 How goes the world with thee ? [' how art thou going on ']. — R. III., iii. 2. 
 
 How goes the world ['how comes this,' 'what is the matter'], that I am thus en- 
 counter'd with clamorous demands. — Timon, ii. 2. 
 
 Thus goes every one to the world ['everybody gets marrried'] but I, and I am sun- 
 burned. — M. Ado., ii. I. 
 
 I hope it is no dishonest desire, to desire to be a woman of the world [' a married 
 woman ']. — As You L., v. 3. 
 
 Her beauty and her brain go not together [' are not matched,' ' are not on a par ']. — 
 Cym., i. 2. 
 
 Go to [' have done,' ' be quiet,' ' enough '] ; carry this. — Temp., iv. i. 
 
 To pray for her ! Go to [' well, well,' ' even so,' ' be it so ']. — Love's L. L., iii. i. 
 [See Oaths, Exclamations, &c.] 
 
 'Tis not ten years gone ['ten years have not elapsed,' 'it is not ten years ago'] 
 since Richard. — 2 H. IV., iii. i. 
 
 'Tis not four days gone, since I heard thence. — Coriol., i. 2. 
 
 O, he 's drunk, Sir Toby, an hour agone. — Tw. N., v. i. 
 
 For long agone I have forgot to court. — Two G. of V., iii. i. 
 
 Master, I have gone thorough [' bid high,' ' gone thoroughly to work in the price I have 
 offered '] for this piece. — Per., iv. 3. 
 
 Would have bought me lights as good cheap [' as cheap,' ' as good a bargain '] at the 
 dearest chandler's. — i H. IV., iii. 3. 
 
 That 's Antenor : he has a shrewd wit, I can tell you ; and he 's a man good enough 
 [used as " rather " is sometimes jocosely used, to express ' very good,' ' excellent ']. — 
 Tr. &■. Cr., i. 2. 
 
 I have no exquisite reason for 't, but I have reason good enough [' perfectly suf- 
 ficing'].— T«/. A'., ii. 3. 
 
 'Faith, the priest was good enough, for all the. — As You L., v. i. 
 
 I do not say, thwack our general ; but he was always good enough [' a match,' ' " 
 more than sufficient equal'] for him. — Coriol., iv. 5. 
 
 Sir, I know that well enough [' perfectly well,' ' thoroughly ']. — Two G. of V., ii. i. 
 
 I know you well enough . . . you know him well enough. — M. Ado., ii. i. 
 
 And the stony-hearted villains know it well enough. — i H. IV., ii. 2. 
 
366 THE SHAKESPEARE KEY. 
 
 Go to ; I know you well enough. — i H. IV., iii. 3. 
 
 Menenius, you are known well enough too ... if I be known well enough too ? — 
 Come, sir, come, we know you well enough. — CorioL, ii. i. 
 
 TJie knight 's in admirable fooling. — Ay, he does well enough [' capitally,' ' excellently 
 well '], if he be disposed. — Tw. N., ii. 3. 
 
 And fear not, neighbour, you shall do well enough.— 2 H. VI., ii. 3. 
 
 I am not drunk now; I can stand well enough, and speak well enough. — 0th., ii. 3. 
 
 Cry " lost," and so good night ! [' farewell to us ']. — W. T., i. 2. 
 
 If he fall in, good night/ ['farewell to him,' 'he's done for'] or sink, or swim. — 
 I H. IV., i. 3. 
 
 Why, then, good night ['farewell to our success,' 'our cause is lost'"], indeed. — 
 Ant. &■ C, iii. 8. 
 
 And that the spoil got on [' gained from '] the Antiates. — CorioL, iii. 3. 
 
 My queen and Eros have, by their brave instruction, got upon me [' gained in advance 
 of me,' ' forestalled me in securing '] a nobleness in record. — Ant. &• C., iv. 12. 
 
 It is great morning [' broad day '] ; and the hour. — Tr. &> Cr., iv. 3. 
 
 It is now high supper-time ['high time for supper,' 'fully supper-time'], and the 
 night grows to waste. — 0th., iv. 2. 
 
 And therefore 'tis high time [' fully time '] that I were hence. — Com. of E., iii. 2. 
 
 So I will not rest till I have run some ground [' a good distance,' ' a long way 'J. — 
 Mer. of v., ii. 2. 
 
 I will run as far as God has any ground* [' as far as the land extends,' ' to the sea- 
 shore']. — Ibid., ii. 2. 
 
 I will ride, as far as land will let me, by your side. — R. II., i. 3. 
 
 My father did something smack, something grow to [' lean towards ' (' knavery ' or 
 'dishonesty,' understood), ' incline that way,' ' approach near to'] — he had a kind of 
 taste. — Mer. of V., ii. 2. 
 
 They that my trust must grow to [' cleave to,' cling to,' ' rely upon'], live not here. — 
 H. VIII., iii. I. 
 
 / grow to you ['I embrace you closely,' 'I clasp you in fervent friendship']. — 
 All's W., ii. I. 
 
 I lay aside that which grows to me ! [' belongs to me,' ' pertains to me,' ' is a part of 
 me']. If thou gettest any leave of me. — 2 H. IV., i. 2. 
 
 Then read the names of the actors ; and so grow to a point [' come to the point,' 
 ' come to the matter in hand']. — Mid. N. D., i. 2. 
 
 Touch you the sourest points with sweetest terms. 
 
 Nor curstness grow to the matter [' come near the subject,' ' mingle in our dis- 
 cussion ']. — Ant. &■ C, ii. 2. 
 
 If matters grow to your liking [' proceed,' ' turn out,' ' happen, as you could wish ']. — 
 Merry W., i. i. 
 
 Your husband 's here at hand [' close by,' ' near ']. — Ibid., iii. 3. 
 
 All books of love, see that at any hand ['at any rate,' ' at all events,' 'on any 
 account '] . . . not her that chides, sir, at any hand, I pray. — Tarn, of S., i. 2. 
 
 Let him fetch off his drum in any hand [' in any case,' ' at any rate,' ' at all events ']. 
 —AWs W., iii. 6. 
 
 Else shall you not have any hand at all about [' have anything to do with,' ' take any 
 part in '] his funeral. — Jul. C, iii. i. 
 
 Have you received no promise of satisfaction at her hands? ['from her']. — 
 Merry W., ii. 2. 
 
 Tell him so yourself, and see how he will take it at your hands [' from you']. — 
 R. &• Jul., iii. 5. 
 
 Deserved at the hands of [' from '] Fortune. — Hamlet, ii. 2. 
 
 * The dramatist with felicitously humorous effect puts this expression into the mouth 
 of one born in Venice ; where there is a very limited amount of ground. 
 
IDIOMS. 367 
 
 Therefore, of all hands [' on all hands,' ' on all sides,' ' on every account,' ' in every 
 respect'] must we be forsworn. — Love's L. L., iv. 3. 
 
 That covenants may be kept on either hand [' on both sides ']. — Tam. of S., u. i. 
 
 Before, behind thee, and on every hand, 
 
 Enwheel thee round. — 0th., ii. i. 
 
 If promises be kept on every hand. — i H. IV., iii. 2. 
 
 He is as tall a man of his hands ['of his height,' 'of his size'] as any is between this 
 and his head. — Merry W., i. 4. 
 
 That I am a proper fellow of my hands: and those. — 2 H. IV., ii. 2. 
 
 Thou art a tall fellow of thy hands . . . thou art no tall fellow of thy hands ... I 
 would thou wouldst be a tall fellow of thy hands. — W. T., v. 2. 
 
 You have made fair hands [' done a fine piece of mischief,' ' made a pretty mess ], 
 you and your crafts. — Coriol., iv. 6. 
 
 You have made good work, you and your apron-men. . . . You have made good 
 work, you and your cry ! — Ibid., iv. 6. 
 
 Ye have made a fine hand, fellows. — H. VIII., v. 3. 
 
 Change places ; and handy-dandy* [' which hand is which hand,' ' which is the right 
 hand and which is the left,' 'which is right and which is wrong'], which is the justice, 
 which is the thief? ' — Lear, iv. 6. 
 
 Stay, stand apart; I know not which is which ['the one from the other']. — • 
 Com. of. E., V. I. 
 
 Read me the superscription of these letters : I know not which is which. — Timon, ii. 2. 
 
 Hob, nob [' have it, or have it not,' ' hit or miss '] is his word ; give 't or take 't. — 
 Tw. N., iii. 4. 
 
 But, hit or miss [' succeed or not succeed '] our project's life this shape of sense 
 assumes. — Tr, &• Cr., i. 3. 
 
 When these mutualities so marshal the way, hard at hand [' hard by,' ' close by, 
 'very near,' 'immediately'] comes the master and main exercise. — 0th., ii. i. 
 
 Be ready here hard by [' close by,' ' near at hand '] in the brewhouse. — 
 Merry W., iii. 3. 
 
 Where is he ? — He attendeth here hard by. — Mer. of V., iv. i. 
 
 If you will know my house, 'tis at the tuft of olives, here hard by. — As Yon L., iii. 5. 
 
 The count himself, here hard by, woos her. — Tw. N., i. 3. 
 
 Well have you heard, but something hard of hearing [' deafly,' indistinctly,' ' inaccu- 
 rately heard ']. — Tam. of S., ii. i. 
 
 Indeed, my lord, it foUow'd hard upon [' quickly,' ' soon after '1.— Hamlet, i. 2. 
 
 I have been drinking hard [' drinking to excess,' ' toping '] all night, and I will have 
 more time. — M.for M., iv. 3. 
 
 They call drinking deep, dyeing scarlet. — i H. IV., ii. 4. 
 
 Say, you ne'er had done 't, 
 (Harp on that [' dwell on that,' ' repeat that '] still) but by our. — Coriol., ii. 3. 
 
 O, gracious duke, harp not on that ; nor do not. — M.for M., v. i. 
 
 Harp not on that string, madam ; that is past. — Harp on it still shall I till heart- 
 strings break. — R. III., iv. 4. 
 
 Still harping on [' dwelling on,' ' recurring to '] my daughter. — Hamlet, ii. 2. 
 
 Harping on what I am, not what he knew I was. — Ant. <&» C, iii. 11. 
 
 Have after [' let us follow '] . — Hamlet, i. 4. 
 
 Have at you [' here goes,' ' I 'm ready to try my success against you,' ' I '11 have an 
 onset with you '] for a bitter jest or two ! — Tam. of S., v. 2. 
 
 Have to [' I will go to,' ' I will try my success with '] my widow ! — Ibid., iv. 5. 
 
 Ha' to [' here 's to,' ' I drink to '] thee, lad. — Ibid., v. 2. 
 
 • The name of an old game for children ; where the hands and places of the players 
 are rapidly interchanged, and success depends upon guessing which is which. 
 
368 THE SHAKESPEARE KEY. 
 
 Have through [' here goes, to make my way through '] the very midst of you ! — 
 2 H. VI., iv. 8. 
 
 Have with you [' I'm ready to go with you '], mine host. — Merry W., ii. i. 
 
 When I have laid proud Athens on a heap [' in a heap,' ' in ruins,' ' in the dust". 
 — Timon, iv. 3. 
 
 There were drawn icpon a heap [' in a heap,' ' in a cluster,' ' in a crowd '] a hundred 
 ghastly women. — Jul. C, i. 3. 
 
 Let us, on heaps [' in heaps,' ' in numbers '], go offer up our lives. — H. V., iv. 5. 
 
 Catarrhs, loads [' quantities,' ' lots,' ' plenty,' ' a great deal '] o' gravel i' the back, 
 lethargies, cold palsies. — Tr. &• Cr., v. i. 
 
 If I had a monopoly out, they would have part on 't, and loads [' a great quantity,' 
 ' a large amount '] too. — Lear, i. 4. 
 
 All men's honours lie like one lump [' a mass,' ' a heap '] before him, to be fashion'd 
 into what pitch he pleases. — H. VIII., ii. 2. 
 
 And then we may deliver our supplications in the qtdll [' all together,' ' all collec- 
 tively,' ' all in a body,' ' all in a cluster,' ' all in a crowd,' ' all in a heap ']. — 2 H. VI., i. 3. 
 
 Since you do take it, love, so much at heart [' think so seriously about it,' ' fret so 
 much about it ']. — Mer. of V., v. i. 
 
 An you speak ill of the devil, how he takes it at heart [' takes it to heart,' 'frets at it,' 
 ' is vexed at it ']. — Tw. N., iii. 4. 
 
 With all my heart [' I heartily consent '], so thou canst get a wife. — Mer. of V., iii. 2. 
 
 For if the Jew do cut but deep enough, 
 
 I '11 pay it instantly with all my heart [' heartily,' ' right willingly,' ' most readily ; ' 
 and (punningly) 'with the whole of my heart,' 'with all the blood in my heart']. 
 — Ibid., iv. I. 
 
 And forgave him with all their hearts ['right heartily']. — Jul. C, i. 2. 
 
 Bid her have good heart [' take courage,' ' be of good cheer ']. — Ant. &■ C, v. i. 
 
 Well, then, take a good heart, and counterfeit to be a man. — As You L., iv. 3. 
 
 Good sirs, take heart : we '11 bury him. — Ant. &• C, iv. 13. 
 
 Now I have taken heart ['taken courage,' 'roused myself], thou vanishest. — 
 Jul. C, iv. 3. 
 
 Cheer your heart [' be cheerful '] : be you not troubled. — Ant. &• C, iii. 6. 
 
 Be of good cheer [' take heart,' ' take courage '], youth. — As You L., iv. 3. 
 
 I pr'ythee, lady, have a better cheer [' be more cheerful,' ' entertain a better hope ']. — 
 All's W., iii. 2. 
 
 And out of heart [' discouragedly,' 'despondently'], master . . . and out of heart 
 you love her, being out of heart [' discouraged,' ' despondent,' ' dejected '] that you 
 cannotenjoy her. — Love's L. L., iii. i. 
 
 I shall be out of heart [' discouraged,' ' hopeless '] shortly, and then I. — i H. IV., iii. 3. 
 
 Well, Petruchio, this has put me in heart [' given me courage, 'encouraged me ']. — 
 Tarn, of S., iv. 5. 
 
 My lord, in heart [' in all heartiness I pledge you, I drink to you '] ; and let the 
 health go round. — Timon, i. 2. 
 
 But goes thy heart with this ? [' do you speak this from your heart,' ' does this accord 
 with thy heart's feeling']. — Lear, i. i. 
 
 I have tremor cordis on me, my heart dances [' my heart trembles ' or ' quivers,' ' my 
 heart is agitated'] ; but not for joy — not joy. — W. T., i. 2. 
 
 Make our eyes flow with joy, hearts dance [' hearts leap up,' ' bound '] with comforts 
 — CorioL, V. 3. 
 
 He has it now ; and by his looks, methinks, 
 
 'Tis warm at his heart [' it gladdens his heart,' 'it makes his heart glow']. — Ibid., ii. 3. 
 
 This gentle and unforc'd accord of Hamlet 
 
 Sits smiling to my heart [' delights ' or ' rejoices my heart ']. — Hamlet, i. 2. 
 
 My bosom's lord sits lightly in his throne [' my heart feels light and happy';. — 
 R. &■ Jul., V. I. 
 
IDIOMS. 369 
 
 Crack my clear voice with sobs, and break my heart [' exhaust myself,' ' destroy 
 myself] with sounding Troilus. — Tr. <&■ Cr., iv. 2. 
 
 To break the heart of [' grieve,' ' deject '] generosity, 
 And make bold power look pale. — CorioL, i. i. 
 
 Wilt break my heart ? [''destroy me,' ' kill me with grief']. — Lear, iii. 4. 
 
 No. no, my heart will burst ['will break'], an if I speak; 
 
 And I will speak, that so my heart may burst. — 3 H. VI., v. 5. 
 
 Then burst his mighty heart [' his mighty heart broke ']. — jful. C, iii. 2. 
 
 0, that my heart would burst! ... his flaw'd heart . . . burst smilingly. — 
 Lear, v. 3. 
 
 Your Jicart is burst, you have lost half your souI.^Ott., i. r. 
 
 Why, that contempt will kill the speaker's heart ['grievously discourage']. — 
 Love's L. L., v. 2. 
 
 He was furnished like a hunter. — O, ominous! becomes to kill my heart [punningly: 
 ' destroy my hart,' ' and capture my heart,' ' vanquish my heart ']. — As You L., iii. 2. 
 
 To take on me to keep and kill thy heart ['pain,' 'destroy by anguish']. — R.II., v. i. 
 
 The king has killed his heart [' broken his heart,' ' destroyed him by anguish '].— 
 H. v., ii. 2. 
 
 Offer me no money, I pray you ; that kills my heart ['grieves me poignantly']. — 
 W. T., iv. 2. 
 
 Ah, Joan, this kills thy father's heart outright ! — i H. VI., v. 4. 
 
 Set not thy sweet heart o«-[' do not love absorbingly '] proud array. — Lear, iii. 4. 
 
 I '11 prove it on thy heart [' fight with thee in proof of my words ']. — Ibid., v. 3. 
 
 Are bent to prove upon thy heart . . thou liest. — Ibid., v. 3. 
 
 Do, an thou darestfor thy heart [' if you can find it in your heart,' or ' in your power '] 
 —2 H. IV., ii. 4. 
 
 Cannot take two firom twenty, /or his heart [' cannot find it in his heart' or ' in his 
 power']. — Cym., ii. i. 
 
 That it would have done a man's heart good [' rejoiced a man '] to see.— 
 2 H. IV., iii. 2. 
 
 By God's lid, it does one's heart good [' rejoices one ']. — Tr. (S* Cr., i. 2. 
 
 Why, this will do Helen's heart good now [' rejoice Helen '], ha ! — Ibid., i. 2. 
 
 From heart of very heart [' from my inmost heart '] , great Hector, welcome. — 
 Ibid., iv. 5. 
 
 In my heart's core, ay, in my heart of heart [' my inmost heart '] , as I do thee. — 
 Hamlet, iii. 2. 
 
 You may ride s with one soft kiss a thousand furlongs, ere with spur we heat an acre 
 [' we run an acre's course ' or ' race']. — W. T., i. 2. 
 
 He will drive you out of your revenge, and turn all to a merriment, if you take not 
 the heat [' do not get the start of him,' ' get ahead of him,' ' run in before him ' • also 
 including the sense of ' strike not while the iron is hot,' ' pursue not your advantage 
 immediately,' ' act not promptly '].— 2 H. IV., ii. 4. 
 
 We must do something, and i' the heat [' we must strike while the iron is hot,' ' we 
 must hit on some plan, and act promptly ']. — Lear, i. i. 
 
 And the best quarrels, in the heat [' in the first warmth of temper ' or ' impulse '] are 
 curs'd by those that feel their sharpness. — Ibid., v. 3. 
 
 Not in this heat ['in this warmth of temper'], sir, now. — CorioL, iii. i. 
 
 It is a business of some heat [' of some pressure,' ' requiring some speedy and imme- 
 diate attention ']. — 0th., i. 3. 
 
 I hold it [' reckon it,' ' consider it,' ' esteem it '] a sin to match. — M. Ado, ii. i. 
 
 I hold it the more knavery to conceal it. — W. T., iv. 3. 
 
 Hold it a fashion, and a toy in blood. — Hamlet, i. 3. 
 
 I once did hold it, as our statists do, a baseness to \vrite fair. — Ibid., v. 2. 
 
 Burgomasters and great oneyers, such as can hold in [' restrain themselves,' ' refrain,' 
 ' preserve sedateness ']. — i H. IV., ii. i. 
 
 2 B 
 
370 THE SHAKESPEARE KEY. 
 
 If there be more, more woeful, hold it in [' refrain from saying it,' ' keep it unsaid '] . — 
 Lear^ v. 3. 
 
 Yet hold I off [' remain coy,' ' maintain my reserve ']. Women are angels, wooing : 
 things won are done. — Tr. &• Cr., i. 2. 
 
 That unassailable holds on [' maintains,' ' keeps up,' ' preserves '] his rank, unshak'd 
 of motion. — yitl. C, iii. i. 
 
 Well said, brazen-face, hold it out [' keep up your pretence of immaculacy,' ' persist 
 in your assertion of innocence']. — Merry W., iv. 2. 
 
 Till my tale be heard, and hold no longer out [' no longer keep up the semblance 
 of virtue ']. — M. for M., v. i. 
 
 Can any face of brass hold longer out ? — Love's L. L., v. 2. 
 
 She would not hold out enemy [' be inimical,' ' preserve enmity '] for ever, for giving 
 it to me. — Mer. of V., iv. i. 
 
 I will hold friends [' keep friends,' ' keep on friendly terms,' ' preserve amity '] with 
 you, lady. — M. Ado, i. i. 
 
 Now happy he, whose cloak and cincture can hold out [' wear through,' ' sustain '] 
 this tempest. — jfohn, iv. 3. 
 
 All Kent hath yielded ; nothing there holds out [' keeps up resistance,' ' remains 
 firm '] but Dover castle. — Ibid., v. i. 
 
 Hold out i}ly horse [' let the strength of my horse last out,' ' or suffice '], and I will 
 first be there. — R. II., ii. i. 
 
 No, no, he cannot long hold out [' sustain,' ' go through '] these pangs. — 2 H. IV.. 
 iv. 4. 
 
 Else ne'er could they hold out [' keep on,' ' persist,' ' persevere in resistance '] so as 
 they do.— I H. VI., i. 2, 
 
 Mine eyes cannot hold out water [' keep from tears,' ' refrain from shedding tears '], 
 methinks. — Timon, i. 2. 
 
 • For the babe cannot hold out [' bear the fatigue,' ' sustain the voyage '] to Tyrus. — 
 Per., iii. i. 
 
 And hold your own ['keep up your consequence,' 'maintain your position '], in anv 
 case, with such austerity as.- — Tarn, of S., iv. 4. 
 
 Doth she hold her own well ? [' wear well,' ' keep her good looks ']. — 2 H. IV., iii. 2. 
 
 Now, Ajax. hold thine own I [' fight firmly,' ' keep up your reputation for being a 
 good fighter']. — Tr. &• Cr., iv. 5. 
 
 For women's fear and love hold quantity [' are of equal amount,' ' have parity,' ' are 
 on a par']. — Hamlet, iii, 2. 
 
 Things base and vile, holding no quantity [' possessing no intrinsic merit,' ' having 
 no equal worth with the person estimating them '], love can transpose to form and 
 dignity. — Mid. N. D., i. i. 
 
 With such powers as might hold sortance [' keep rank,' ' accord,' ' be suitable '] with 
 his quality. — 2 H. IV., iv. i. 
 
 Hold you there [' keep in that frame of mind '] : farewell. — M.for M., iii. i. 
 
 There rest [' remain in that state of mind ']. Your partner. — Ibid., ii. 3. 
 
 Our purpose may hold there [' succeed by that means '] .• — Hamlet, iv. 7. 
 
 Dost thou hold there [' keep to that same story '] still ? — Ant. &• C, ii. 5. 
 
 He hath ta'en the infection : hold it up [' maintain the same ground,' ' pursue the 
 same course,' ' go on with more of the same story ']. — M. Ado, ii. 3. 
 
 Wink at each other ; hold the sweet jest up. — Mid. N. D., iii. 2. 
 
 It lies much in your holding up [' carrying out the idea,' ' fulfilling the scheme ']. — 
 M.for M., iii. i. 
 
 Thou sayest well, and it holds well [' it is carried out farther,' ' it is farther con- 
 firmed '] too. — I H. IV., i. 2. 
 
 'Tis said, he holds you well [' much esteems you,' ' looks upon you favourably '] ; and 
 will be led, at your request. — Tr. &• Cr., ii. 3. 
 
 He holds me well [' thinks favourably of me '] ; the better. — 0th., i. 3. 
 
IDIOMS. 371 
 
 Thou told"st me thou didst hold him in thy hate [' hate him ' |. — 0th., i. i. 
 
 If thou didst ever hold me in thy heart [' hold me dear,' ' love me '] . — Hamlet, v. 2. 
 
 My course, which holds not colour [' consists not,' ' suits not,' ' matches not '] with 
 the time. — All's W., ii. 5. 
 
 O, the father ! how he holds his countenance ! [' keeps a serious face ']. — i H. IV., ii. 4. 
 
 Here comes Baptista : set your countenance [' keep a steady look '] . — Tarn. ofS.,iv.^. 
 
 Look, what thy soul holds dear [' loves,' ' prizes '], imagine it. — R. II., i. 3. 
 
 Life every man holds dear ; but the dear man 
 
 Holds honour far more precious dear than life. — Tr. &• Cr., v. 3. 
 
 I hold your dainties cheap ['think little of,' 'set small store by'], sir, and your 
 welcome dear. — Com. of E., iii. i. 
 
 And hold their manhoods cheap [' think poorly of,' ' despise ']. — H. V., iv. 3. 
 
 Now humble as the ripest mulberry, that will not hold the handling [' bear rough 
 touching']. — Coriol., iii. 2. 
 
 A rotten case abides no handling [' bears no inspection,' ' examination,' ' testing ']. — 
 2 H. IV., iv. I. 
 
 And would not hold taking [' bear touching '], I doubt me. — Timon, i. 2. 
 
 What, must I hold a candle to [' betray,' ' expose '] my shames ? — Mer. of V., ii. 6. 
 
 Thy affections, which do hold a wing [' take a course,' ' pursue a path '] quite from 
 the flight of all thy ancestors. — i H. IV., iii. 2. 
 
 And the remembrancer of her, to hold the hand fast [' to keep her pledged faith '] to 
 her lord. — Cym., i. 6. 
 
 The fellow has a deal of that too much, 
 
 Which holds him much to have [' upholds him much in general opinion, ' or ' avails 
 him well to possess ']. — All's W., iii. 2. 
 
 I hold you a penny [' bet you a penny,' ' lay you a penny']. — Tam. of S., iii. 2. 
 
 At the duke's oak we meet. — Enough ; hold or cut bow-strings [' I will keep my 
 appointment, or you may cut my bow-strings ' : a form of pledge for meeting among 
 archers, which passed into common use]. — Mid. N. D., i. 2. 
 
 Or I '11 find a Marshalsea shall hold ye play [' keep you amused,' ' keep you engaged '] 
 these two months. — H. VIII., v. 3. 
 
 And hold our lives in mercy [' have our lives at his mercy,' ' in his power ']. — Lear, i. 4. 
 
 If e'er thou stand at mercy of my sword [' within my power ']. — Tr. &• Cr., iv. 4. 
 
 For him, and in his right, we hold this town [' keep possession of this town,' ' keep 
 this town armed and defended']. — jfohn, ii. i. 
 
 For he that holds his kingdom [' keeps possession of his kingdom,' ' retains his 
 kingdom '] holds the law [' has power over,' or ' controls the law']. — Ibid., iii. i. 
 
 It holds current ['remains uncontradicted,' ' holds good'] that I told you yesternight. 
 —I H. IV., ii. I. 
 
 Doth the news hold [' is the news confirmed '] of good King Edward's death ? — 
 R. III., ii. 3- 
 
 Does the rumour hold for true [' prove true '], that he is so full of gold ? — Timon, v. i. 
 
 For God's sake, hold your hands ['forbear to strike']. — Com. ofE., i. 2. 
 
 Nay, by your leave, hold your hands. — All's W., iv. 3. 
 
 Good now, hold thy tongue ['be silent']. — Com. ofE., iv. 4. 
 
 Come, sing; and you that will not, hold your tongues. — As You L., ii. 5. 
 
 Yet, Pucelle, hold thy peace. — i H. VI., iii. 2. 
 
 Hold your peaces ! — Good my lord. — W. T., ii. i. 
 
 Defy them, then, or else hold close thy lips. — 3 H. VI., ii. 2. 
 
 And to the head of Angelo accuse him home and home [' accuse him thoroughly,' 
 ' fully,' ' expose him completely']. — M.for M., iv. 3. 
 
 Mend, and charge home [' attack fiercely to the utmost '], or, by the fires of heaven, 
 I '11.— Cono/., i. 4. 
 
 He charges home [' makes fierce onslaught upon '] my unprovided body. — Lear, ii, i. 
 
 2 B 2 
 
372 THE SHAKESPEARE KEY. 
 
 In this point charge him home [' tax him severely and searchingly ']. — CorioL, iii. 3. 
 
 That confirms it home [' confirms it perfectly '] : this is Pisanio's deed. — Cym., iv. 2. 
 
 Lack'd the sense to know her estimation home ['know her merit fully']. — 
 AlVs W.. V. 3. 
 
 Look, you lay home to him [' rate him unsparingly '] : tell him his pranks. — 
 Hamlet, iii. 4. 
 
 All my services you haye paid home [' rewarded amply']. — W. T., v. 3. 
 
 Till he hath found a time to pay us home [' pay us out,' ' revenge himself upon us 
 fully'].— I H. 77., i. 3. 
 
 But I wiW punish home ['avenge thoroughly'] : No. I will weep no more. — Lear, iii. 4. 
 
 Wear thy good rapier bare, axiApiit it home ['thrust fatally and surely']. — 0th., v. i. 
 
 No farther halting : satisfy me home [' confess openly '] what is become of her. — 
 Cym., iii. 5. 
 
 He speaks home ['tells plain truths'], madam: you may relish him. — 0th., ii. i. 
 
 Let me say, I cannot speak him home [' do him thorough justice ']. — CorioL, ii. 2. 
 
 Speak to me home [' tell me frankly and candidly '], mince not the general tongue. — 
 Ant. &• C, i. 2. 
 
 Who may, in th' ambush of my name, strike home [' smite penally'], and yet my 
 nature never. — M.for M., i. 4. 
 
 Fortune's blows, when most struck home [' severely smiting'], being gentle wounded, 
 craves a noble cunning. — CorioL, iv. i. 
 
 I'll warrant she'll tax him home ['accuse him severely and searchingly']. — 
 Hamlet, iii. 3. 
 
 You have told them home [' rated them unsparingly ']. — CorioL, iv. 2. 
 
 That, trusted home ['relied upon fully,' 'believed in its fullest extent'], might yet 
 enkindle you unto the crown. — Macb., i. 3. 
 
 He hath eaten me out of house and home [' ruined me by his extravagance '] ; he 
 hath put all my substance. — 2 H. IV., ii. i. 
 
 Like horses hoi at hand ['full of fire when led by the hand'], make gallant show and 
 promise. — yul. C, iv. 2. 
 
 Nay, 'twill be this hour [' an hour at least '] ere I have done weeping. — Ttco 
 G. of v., ii. 3. 
 
 We have done but greenly, in hugger-mugger [' in secret,' ' stealthily,' ' clandes- 
 tinely'] to inter him. — Hamlet, iv. 5. 
 
 Beldam, I think we watch'd you at an inch [' at the very moment,' ' in the very nick 
 of time,' ' to a nicety ']. — 2 H. VI., i. 4. 
 
 And make him by inch-meal ['inch by inch,' 'an inch at a time'] a disease! — 
 Temp., ii. 2. 
 
 O, that I had her here, to tear her limb-meal ! [' a limb at a time,' ' limb by limb,' 
 ' limb from limb ']. — Cym., ii. 4. 
 
 Take the bonds along with you, and have the dates in compt [' take account of the 
 dates']. — Timon, ii. i. 
 
 Have theirs, themselves, and what is theirs, in compt [' in trust,' ' as that which is to 
 be accounted for'] to make. — Macb., i. 6. 
 
 I '11 give you a verse to this note, that I made yesterday in despite of [' in a struggle 
 with,' ' in spite of my tardy,' or ' poor'] invention. — As You L., ii. 5. 
 
 In spite of [' notwithstanding,' ' contrary to,' ' against the wish of] your heart, I think. 
 — M. Ado, V. 2. 
 
 To fashion this false sport in spite of me [' to spite me,' ' to vex me ']. — 
 Mid. N. D., iii. 2. 
 
 And sleep in spite of [' notwithstanding the '] thunder. — Macb., iv. i. 
 
 O'erbearing interruption, spite of [' in defiance of,' ' against the will of] France ? — 
 John, iii. 4. 
 
 I love thee so, that, maugre [' in spite of,' ' notwithstanding'] all thy pride, nor wit, 
 nor reason, can my passion hide. — Tw. N., iii. i. 
 
IDIOMS. 373 
 
 I protest — maugre thy strength, youth, place, and eminence, 
 
 Despite thy victor sword and fire-new fortune, 
 
 Thy valour and thy heart — thou art a traitor. — Lear, v. 3. 
 
 But that the poor monster's in drink ['drunk,' ' intoxicated ']. — Temp., ii. 2. 
 
 But yet I slew him manfully, in fight [' while fighting']. — Two G. of V., iv. i. 
 
 That's a fault that water will mend. — No, sir, 'tis in grain [' dyed of a fast or fixed 
 colour,' ' stained indelibly '] ; Noah's flood could not do it. — Com. of E., iii. 2. 
 
 'Tis in grain, sir, 'twill endure wind and weather. — Tui. N., i. 5. 
 
 The quintessence of every sprite Heaven would in little [' in miniature,' ' in abstract,' 
 ' epitomised 'J show. — As You L., iii. 2 (Verses). 
 
 A hundred ducats apiece for his picture in little. — Hamlet, ii. 2. 
 
 This day was view'd in open [' openly,' ' publicly '] as his queen. — H. VIII., iii. 2. 
 
 I fear me thou wilt give away thyself w paper [' in securities,' ' in bonds'] shortly. — 
 Timon, i. 2. 
 
 To London, all in post [' in post-haste,' ' at utmost speed '] ; and, as I guess, to make 
 a bloody supper in the Tower. — 3 H. VI., v. 5. 
 
 All this I speak in print ['literally,' 'exactly'], for in print ['in printed form,' 'in 
 type'] I found it. — Two G. of V., ii. i. 
 
 I will do it, sir, in print ['literally,' 'accurately,' 'faithfully,' 'punctually']. — 
 Love's L. L., iii. i. 
 
 Oh, sir, we quarrel in print [' according to printed form,' ' methodically,' ' systemati- 
 cally '], by the book. — As You L., v. 4. 
 
 I love a ballad in print [' printed,' ' in printed form '] , a'-life ; for then we are sure 
 they are true. — W. T., iv. 3. 
 
 We must speak by the card [' accurately,' ' correctly,' ' precisely,' ' according to the 
 rule laid down in th^ register, calendar, or card of etiquette '] , or equivocation will undo 
 us. — Hamlet, v. i. 
 
 Tell me in sadness [' seriously,' ' sedately '], who is that you love. — R. &• jfuL, i. i. 
 
 Now, in good sadness [' in all seriousness,' ' seriously speaking ']. — Tarn, of S., v. 2. 
 
 Or, in sooth [' in truth,' ' truly'], I would Master Fenton had her. — Merry W., iii. 4. 
 
 Well drawn, monster, in good sooth [' in all truth,' 'truly,' ' indeed ']. — Temp., ii. 2. 
 
 Good troth, you do me wrong — good troth, you do. — Mid. N. D., ii. 3. 
 
 Sooth, when I was young, and handed love as you do. — W. T., iv. 3. 
 
 And, sooth to say, in countenance somewhat doth resemble you. — Tam. of S., iv. 2. 
 
 Very sooth, to-morrow. — W. T., i. 2. 
 
 ■Vet, good deed, Leontes, I love thee not ajar o' the clock behind. — Ibid., i. 2. 
 
 I may not, verily. — Verily ! . . . Verily you shall not go : a lady's verily is as 
 potent as a lord's . . by your dread verily, one of them you shall be. — Ibid., i. 2. 
 
 In truth, sir, and she is pretty, and honest. — Merry W., i. 4. 
 
 In good truth, the poet makes a most excellent description of it. — H. V., iii. 6. 
 
 O, that I knew he were but in by the week ! [' really engaged to me,' ' really my 
 servant : ' the phrase was formerly used when hiring attendants or labourers ; and the 
 lady-speaker uses it of her suitor, because ' servant ' was sometimes employed for 
 lover or wooer]. — Love's L. L., v. 2. 
 
 Let the music knock it [' strike up,' ' sound out ']. — H. VIII., i. 4. 
 
 Her offence must be of such unnatural degree, thai monsters it [' as to be monstrous,' 
 ' as to assume the proportions of a monster 'J, or your. — Lear, i. i. 
 
 I hope it is not so low with him [' affairs are not at such low ebb with him,' ' he is 
 not so badly off'] as he made it seem in the trial of his several friends. — Timon, iii. 6. 
 
 We '11 keep no great ado [' make no great fuss,' ' have not much ceremony '], a friend 
 or two.— i?. &- Jul., iii. 4. 
 
 I pr'ythee, tell me, doth he keep his bed? ['remain in bed'] — i H. IV., iv. i. 
 
 Other slow arts entirely keep the brain [' possess the brain,' ' occupy the brain ']. — 
 Love's L. L., iv. 3. 
 
374 THE SHAKESPEARE KEY. 
 
 You mar our labour : keep your cabins [' remain in your cabins ']. — Temp., i. i. 
 If of life you keep a care [' take heed,' ' preserve the desire '], 
 Shake off slumber, and beware. — Ibid., ii. i (Song). 
 
 Did ever dragon keep so fair a cave ? [' dwell in so fair a cave '] — R. &• yiil., iii. 2. 
 And make them keep their caves [' remain in their caves"]. — Lear, iii. 2. 
 He 's much out of health, and keeps his chamber [' remains in,' ' is confined to his 
 chamber']. — Many do keep their chambers, are not sick. — Timon, iii. 4. 
 
 How hard it is for women to Ace/ counsel ['preserve secrecy,' ' keep a secret'"!. — 
 yul. C, ii. 4. 
 
 Two may keep counsel, putting one away ? — R. &• yul., ii. 4. 
 I can keep honest counsel [' keep honest secrets '] . — Lear, i. 4. 
 I pray you, turn the key, and keep our counsel [' keep our secret ']. — 0th., iv. 2. 
 I will, at the least, keep your counsel [' keep your sedret ']. — Merry W., iv. 6. 
 Keep your fellows counsels and your own [' be discreet, all of you']; and good 
 night. — M. Ado, iii. 3. 
 
 He did keep'the deck [' remain on deck']. — Cym., i. 4. 
 Keep the door [' guard the door ']. O thou vile king. — Hamlet, iv. 5. 
 Dromio, keep the gate ['stay at the gate, to prevent any one entering']. — 
 Com. of E., ii. 2. 
 But keep the hills [' remain upon the hills '] and upper regions. — yul. C, v. i. 
 Keep house [' be at the head of the household '], and ply his book . . . 
 Keep house, and port, and servants, as I should. — Tarn, of S., i. i. 
 A goodly day not to keep house [' remain indoors '], with such. — Cym., iii. 3. 
 I may call him my master, look you, for I keep his house [' take care of his house, 
 ' am his housekeeper']. — Merry W., i. 4. 
 
 "Who cannot keep his wealth must keep his house [' stay at home,' ' remain indoors'] , 
 
 Timon, iii. 3. 
 You will turn good husband now, Pompey ; you will keep the house. — M.for M., iii. 2. 
 
 If he would not keep so good a house [' maintain so expensive a household ']. 
 
 Timon, iii. i. 
 
 But at this hour the house doth keep itself ['takes care of itself '] ; there's none 
 within. — As You L., iv. 3. 
 
 And I '11 keep London [' take possession of London,' ' keep guard over London "] 
 with my soldiers. — 3 H. VI., i. i. 
 
 Shall we disturb him, since he keeps no mean ? [' observes no moderation in his talk ' 
 ' keeps no measure in his conversation ']. — i H. VI., i. 2. 
 
 But keeps the pridge [' retains possession of,' ' maintains his position on,' ' militarily 
 occupies the bridge '] most valiantly.— H. V., iii. 6. 
 
 The Earl of Pembroke keeps his regiment [' remains with his regiment']. — R.III.,v. 3. 
 You would swear directly their very noses had been counsellors to Pepin or 
 Clotharius, they keep state so [' bear themselves with such stateliness,' ' behave so 
 pompously']. — H. VIII., i. 3. 
 
 That would have brook'd the eternal devil to keep his state [' reign,' ' have 
 dominion '] in Rome as easily as a king. — yul. C, i. 3. 
 
 But tell the Dauphin I will keep my state [' behave right royally '] ; be like a king, 
 and show my sail of greatness. — H. V., i. 2. 
 
 Our hostess keeps her state [' remains in her seat of state '] ; but, in best time, we 
 will require her welcome. — Macb., iii. 4. 
 
 Keeps his tent [' remains in his tent '] like him.— r^. &• Cr., i. 3. 
 
 "Who keeps the tent [' remains in his tent'] now 1— Ibid., v. i. 
 
 If we lose the field, we cannot keep the town ['maintain military possession of the 
 town']. — Coriol., i. 7. 
 
 To sit and keep the turn of tippling ['drink foot to foot,' 'have an equal drinking- 
 bout '] with a slave. — Ant. &■ C, i. 4. 
 
IDIOMS. 375 
 
 Like peasant foot-boys do they keep the walls [' remain within the protection of the 
 walls '], and dare not take up arms. — i H. VI., iii. 2. 
 
 And thou this day hadst kept thy chair [' retained possession of thy throne '] in 
 peace. — 3 H. VI., ii. 6. 
 
 This blessed day ever in France shall be kept festival [' kept as a holiday '] . — 
 yohn, iii. i. 
 
 Had all your quarters been so safely kept ['guarded,' 'defended,' 'watched'], as 
 that whereof I had the government. — i H. VI., ii. i. 
 
 I have not kept my square [' preserved decorum,' ' lived in an orderly manner,' 
 ' maintained a regular course '] ; but that to come shall all be done by the rule. — 
 Ant. &■ C, ii. 3. 
 
 I am too blunt and saucy : here 's my knee [' I '11 kneel to thee ']. — Cym., v. 5. 
 
 Well, here is my leg [' I make my obeisance or salutation ']. — i H. IV., ii. 4. 
 
 He that cannot make a leg [' make a bow,' ' make an obeisance '], put off 's cap, kiss 
 his hand. — All's W., ii. 2. 
 
 You make a leg, and Bolingbroke says ay. — R. II., iii. 3. 
 
 He '11 lay about him [' fight well,' ' strike manfully '] to-day. — Tr. & Cr., i. 2. 
 
 And lay apart [' put aside,' ' give up '] the borrow'd glories. — H. V., ii. 4. 
 
 Would the nobility lay aside ['put by,' ' suspend '] their ruth. — Coriol., i. i. 
 
 Lay by [' put aside,' ' cease '] all nicety and prolixious blushes. — M.for M., ii. 4. 
 
 Got with swearing, " Lay by " [' stand and deliver ' ; and, punningly, ' put by,' 
 ' save up money J and spent with crying, " Bring in.'' — i H. IV., i. 2. 
 
 Hung their heads, and then lay by [' remained still '].— H. VIII., iii. i (Song). 
 
 And lay for [' lay myself out for,' ' endeavour to win,' ' strive to gain '] hearts. — 
 Timon, iii. 5. 
 
 I see them lay their heads together [' consult together '], to surprise me. — 2 H. VI., 
 iv. 8. 
 
 All of you have laid your heads together ['schemed,' 'plotted'] ... to make away. 
 — Ibid., iii. i. 
 
 I could lay on [' deal blows '] like a butcher. — H. V., v. 2. 
 
 Lay on [' strike hard '], Macduff; and damn'd be he that first. — Macb., v. 7. 
 
 If thou count'st it shame, lay it on me [' impute it to me,' ' lay it to my charge ']. — 
 Tarn, of S., iv. 3. 
 
 I would I could see this taborer ! he lays it on [' he plays famously,' ' he gives us 
 enough of his music ']. — Temp., iii. 2. 
 
 My father hath made her mistress of the feast, and she lays it on [' is profuse in her 
 outlay ']. — W. T., iv. 2. 
 
 There s laying on [' dealing blows,' ' hearty fighting ']. — Tr. &• Cr., i. 2. 
 
 Will you give me money, captain l—Lay out, lay out [' spend freely,' ' disburse 
 lavishly '].— i H. IV., iv. 2. 
 
 Let it alone [' leave it untouched '], thou fool. — Temp., iv. i. 
 
 Ah, let be, let be [' let it alone,' ' leave off']. — Ant. &• C, iv, 4. 
 
 Let go [' be still,' ' press the point no farther ']. — Coriol., iii. 2. 
 
 Let go [' leave your hold '] ; by heaven, I '11 have it. — Hamlet, v. 2. 
 
 I had as lief [' am as willing '] you would tell me of. — Merry W., iii. i. 
 
 Warm slaves, as had as lief [' would as wiUingly '] hear the devil as a drum. — 
 1 H. IV., iv. 2. 
 
 Nothing but heart's sorrow and a clear life [' pure life,' ' sinless life,' ' reformed life'] 
 ensuing. — Temp., iii. 3. 
 
 If grace had bless'd thee with a. fairer life [' more virtuous life ']. — R. III., iv. 4. 
 
 So, with good life [' life-like enactment,' ' spirited performance or acting '] and 
 observation strange. — Temp., iii. 3. 
 
 Defend your reputation, or bid farewell to your good life [' character for honesty and 
 virtuous conduct '] for ever. — Merry W., iii. 3. 
 
376 THE SHAKESPEARE KEY. 
 
 In respect of itself, it is a good life [' = pleasant life,' ' an agreeable mode of life '] ; 
 but in respect that it is. — As You L., iii. 2. 
 
 Would you have a love-song, or a song of good life ? ['virtuous conduct,' ' decorous 
 behaviour ']...! care not for good life. — r.v. A'., ii. 3. 
 
 I know my life so even ['my life to be so uniformly virtuous, so consistently moral']. — 
 H. VIII., iii. I. 
 
 His life was gentle [' his life was gracious, virtuous, well-bred, that of a gentleman, 
 purely moral and good']. — Jul. C, v. 5. 
 
 He hath a daily beauty in his life [' he has a grace and good estimation in his life 'j 
 that makes me ugly. — 0th., v. i. 
 
 Tut, there 's life in 't [' there is a hopeful element in it,'], man. — Tw. N., i. 3. 
 
 Then there 's life in 't [' there is still a chance,' ' there is hope still ']. — Lear, iv. 6. 
 
 There 's sap in 't yet [' there is vitality in it still,' ' our cause is not yet wholly 
 without hope']. — Ant. &■ C, iii. 11. 
 
 Cousin Hereford, upon pain of life [' 'm penalty of losing your life'], till twice five 
 summers have enrich'd our fields. — R. II . i. 3. 
 
 Kent, on thy life [' as thou valuest thy iife'], no more ! — Lear, i. i. 
 
 Haste thee, /or thy life [' as thou regardest life']. — Ibid., v. 3. 
 
 To such a part, which never I shall discharge to the life [' with lifelike verisimili- 
 tude]. — Coriol., iii. 2. 
 
 And give them repetition to the life [' with lifelike precision of truth,' 'with vitality of 
 perfect resemblance']. — Per., v. 2. 
 
 This lodging likes me [' pleases me'] better, since I. — H. V., iv. i. 
 
 Which likes me better than to wish us one. — Ibid., iv. 3. 
 
 The offer likes not [' does not please']. — Ibid., iii. (Chorus). 
 
 Hold little faith [' a little faith,' ' some little faith'], though. — Tii\ N., v. i. 
 
 But the mustard is too hot a little ['rather.' See "Good enough" cited previously 
 under this heading. — Tarn, of S., iv. 3. 
 
 I would prick your guts a little [' rather ; ' implying 'a good deal ']. — H. V., ii. i. 
 
 When thou seest him, a little [' somewhat ; ' implying ' emphatically,' ' witness my 
 obedience ']. — Cym., iii. 4. 
 
 In Nature's infinite book of secrecy a little ['somewhat considerably'] I can read. — 
 Ant. &> C, i. 2. 
 
 Yet come a little [' for a short time,' ' for a brief space '] . . Get me some wine, and 
 let me speak a little . . . — Ibid., iv. 13. 
 
 Let me speak a little [' for a short space;' but implying ' ver}- effectually '] . This 
 youth that you see here. — Tw. N., iii. 4. 
 
 I am hush'd until our city be afire, 
 
 And then I '11 speak a little [' very much to the purpose,' ' with concentrated force 
 and import ']. — Coriol., v. 3. 
 
 That teacheth tricks eleven and twenty long ['to the amount of thirty-one']. — 
 Tarn, of S., iv. 2. 
 
 A play there is, my lord, some ten words long [' hardly more than ten words in 
 length ']. — Mid. N. D., v. i. 
 
 I have been dear to him, lad — some two thousand strong [' to the tune of two 
 thousand pounds,' ' to the amount of about two thousand pounds '] or so. — Tw. N., iii. 2. 
 
 The Earl of Westmoreland, seven thousand strong ['with a force of seven thousand 
 men '], is marching hitherwards. — i H. IV., iv. i. 
 
 They say, the bishop and Northumberland are fifty thousand strong [' fifty thousand 
 soldiers in strength,' ' have a force of fifty thousand men ']. — 2 H. IV., iii. i. 
 
 Unless you call three fingers on the ribs [' the width of three fingers in fat upon the 
 ribs '] bare. — i H. IV., iv. 2. 
 
 These keep seeming and savour all the winter long [' all through the winter,' ' all the 
 length of the winter ']. — W. T., iv. 3. 
 
 This bird of dawning singeth all night long. — Hamlet, i. i. 
 
IDIOMS. 377 
 
 And there live we as merry as the day is long [• merry from morning till night, 
 '.merry all through the day ']. — M. Ado, i. i. 
 
 I should be as merry as the day is long. — jfohn, iv. i. 
 
 He loves your wife ; there 's the short and the long [' there is the whole truth of the 
 matter']. — Merry W., ii. i. 
 
 That sal I surely do, that is the hrejf and the long. — H. V., iii. 2. 
 
 And fought a long hour ['a full hour,' 'more than an hour,' ' a tedious hour'] by 
 Shrewsbury clock. — i H. IV., v. 4. 
 
 A hundred mark is a long one [' a heavy one ; ' implying ' a heavy loan,' ' a large 
 sum 'J for a poor lone woman to bear. — 2 H. IV., ii. i. 
 
 Farewell, a long farewell ['a final farewell,' 'an eternal farewell'], to all my 
 greatness! — H. VIII., iii. 2. 
 
 You 're a made old man [' a man whose fortune's made,' ' a fortunate old man '] : if 
 the sins of your youth are forgiven. — W. T., iii. 3. 
 
 If our sport had gone forward, we had all been made men [' men whose fortunes were 
 made']. — Mid. N. D., iv. 2. 
 
 And thinks himself made [' thinks himself most fortunate '] in the unchaste composi- 
 tion. — Alls W., iv. 3. 
 
 As / am made [' my fortune 's made,' ' my position is made '] without him, so I 11 
 stand, if the king please. — H. VIII., ii. 2. 
 
 If it prove lawful prize, he 's made [' his fortune is made '] for ever. — 0th., i. 2. 
 
 There s enough to make us all [' make the fortunes of us all ']. — i H. IV., ii. 2. 
 
 This is the night that either makes me ['makes my fortune,' 'ensures my success '], or 
 fordoes me quite. — 0th., v. i. 
 
 And what they made [' what they did '] there, I know not. — Merry W., ii. i. 
 
 What made your master [' what did your master do '] in this place ? — R. &• jfiil., v. 3. 
 
 But what make you here ? [' what do you do here ' ' what causes you to be here ']. 
 — Merry W., iv. 2. 
 
 What make you from home? [' what causes you to be away from home ']. — 0th., iii. 4. 
 
 Foul wrinkled witch, what mak'st thou ['what dost thou,' 'what causest thou to be'] 
 in my sight ? — R. III., i. 3. 
 
 One that made means [' contrived,' ' took surreptitious measures '] to come by what 
 he hath. — Ibid., v. 3. 
 
 There was never yet fair woman, but she made mouths [' made grimaces,' .' practised 
 captivating looks '] in a glass. — Lear, iii. 2. 
 
 Makes mouths at [' mocks at,' ' defies '] the invisible event. — Hamlet, iv. 4. 
 
 He is so made on [' made so much of,' ' so idolised '] here within. — Coriol., iv. 5. 
 
 The bird is dead, that we have made so much on [' cherished so dearly,' ' petted so 
 much']. — Cym., iv. 2. 
 
 I will make much of [' set much store by '] your voices. — Coriol., ii. 3. 
 
 Be comfortable to my mother, your mistress, and make much of her [' cherish her 
 well,' ' take good care of her ']. — All's W., i. i. 
 
 ,Make much of him [' prize him dearly,' ' take good care of him '], my lords; for this 
 is he, must help you more. — 3 H. VI., iv. 6. 
 
 And make as much of me [' regard me as devotedly '], as when. — Ant. &• C, iv. 2. 
 WhsLt faults he made [' faults he committed '] before. — Coriol., v. 5. 
 
 Had you been as I took you for, I made no offence ['committed no offence']. — 
 H. v., iv. 8. 
 
 What offence hath this man made you [' done you,' ' offered you,' ' committed 
 against you ']. — M.for M., iii. 2. 
 
 Towards him I made [' I went towards him '] ; but he. — R. &• jful., i. i. 
 
 Seeing this goodly vessel ride before us, / made to it [' I came to it,' ' I directed my 
 course towards it ']. — Per., v. i. 
 
 With horsemen, that make to him [' speed to him,' ' hie to him,' ' hurry to him '] on 
 the spur. — yiil. C, v. 3. 
 
37S THE SHAKESPEARE KEY. 
 
 Look, how he makes to [' approaches,' ' goes toward '] Caesar. — Jul. C, iii. i. 
 They 've left their barge, and landed; and hither make ['approach,' ' come hither']. — 
 H. VIII., i. 4. 
 
 A- portly sail of ships make hitherward ['approach,' 'direct their course hither']. — 
 Per., i. 4. 
 
 Are making hither [' directing their course hither '] with all due expedience. — 
 R. II., ii. I. 
 
 Make after ['hasten after'] him, poison his delight. — 0th., i. i. 
 
 Albeit considerations infinite do make against it ['tell against it,' 'make it ineli- 
 gible'].—! H.IV.,v. I. 
 
 As the time and place doth make against me [' tell against me,' ' bear evidence 
 against me ']. — R. &■ jful., v. 3. 
 
 There is no bar to make against [' form an impediment to '] your highness' claim to 
 France. — H. V., i. 2. 
 
 And what beside may make against [' prejudice,' ' injure '] the house of Lancaster. 
 —3 H. VI., ii. I. 
 
 Desperation is all the policy, strength, and defence, that Rome can make against 
 [' muster against,' ' bring against '] them. — Coriol., iv. 6. 
 
 Which makes much against [' detracts from,' ' tells against '] my manhood, if I should 
 take from another's pocket. — H. V., iii. 2. 
 
 Foreslow no longer; make we hence amain [' let us hasten away ']. — 3 H. VI., ii. 3. 
 
 Two ships from far making amain [' hastening,' ' coming swiftly'] to us. — 
 Com. of E., i. I. 
 
 If we do now make our atonement [' take a conciliatory course '], well, our peace will 
 like a broken limb united. — 2 H. IV., iv. i. 
 
 He desires to make atonement [' effect a reconciliation,' ' bring about an agreement '] 
 .between the Duke of Gloster and. — R. III., i. 3. 
 
 To make atonements [' effect reconciliations ' or ' agreements '] and compromises 
 between you. — Merry W., i. i. 
 
 It may be judged I made the duke away [' killed the duke ']. — 2 H. VI., iii. 2. 
 
 joy, e'en made away ['dispersed,' 'dissolved,' 'drowned in tears'], ere it tan be 
 born ! — Timon, i. 2. 
 
 And all to make away [' destroy,' 'put an end to'] my guiltless life. — 2 H. VI., iii. i. 
 One of them is hereabout, and cannot make away [' get away,' ' get off,' ' escape']. — 
 0th., V. I. 
 
 1 kill thee, make thee away [' destroy thee,' ' murder thee ']. — As You L.,v. i. 
 And thine ignorance makes thee away ['destroys thee']. — All's W., i. i. 
 
 I was too strict to make mine own away [' destroy ' or ' ruin my own offspring ']. — 
 R. II., i. 3. 
 
 Hence 1 make your best of it [' bear it as well as you can,' ' do the best you may with 
 it,' and 'make the best of your way away,' 'be off as quickly as you can']. — 
 Tam. of S., iv. 3. 
 
 Let 's make the best of ii [' put the best construction we can upon this deed,' ' give 
 the best version we can of it 'J. — Coriol., v. 5. 
 
 And thou that art his mate, make boot [' make profit,' ' make your advantage '] of 
 this.— 2 H. VI., iv. I. 
 
 Give him no breath, but now make boot of his distraction. — Ant. &• C, iv. i. 
 
 She that makes dainty [' hesitates,' ' is coy,' ' squeamishly refuses "], she, I '11 swear, 
 hath corns. — R. &• jftiL, i. 5. 
 
 And he that stands upon a slippery place. 
 
 Makes nice [' squeamishly refuses to take advantage '] of no vile hold to stay him 
 up. — John, iii. 4. 
 
 She makes it strange [' affects coyness,' ' pretends aversion '] ; but she would be best 
 pleased. — Two G. of V ., i. 2. 
 
 Make the doors [' make the doors fast ' {See " Make fast," previously cited) ,' fasten 
 the doors '] upon a woman's wit. — As You L., iv. i. 
 
IDIOMS. 379 
 
 At this time the doors are made [' the doors are fastened '] against you. — 
 Com. of E., iii. i. 
 
 He 's a god or a painter ; for he makes faces [punningly, ' creates countenances,' 
 ' limns countenances,' and ' makes grimaces ']. — Love's L. L., v. 2. 
 
 Shame itself! why do you make such faces? [' twist your face into such contortions,' 
 ' look so grimly ']. — Macb., iii. 4. 
 
 If the drink you give me touch my palate adversely, I make a crooked face [' pull a 
 wry face,' 'make a grimace'] at it ... if you chance to be pinched with the colic, 
 you make faces ['make wry faces,' or ' grimaces'] like mummers. — CorioL, ii. i. 
 
 But by the fair weather that you make yourself [' the conciliation that you practise '] : 
 it is needful that. — M. Ado, i. 3. 
 
 But I must make fair weather [' practise conciliation'] yet awhile, till Henry be more 
 weak. — 2 H. VI., v. i. 
 
 He sits in his state, as a thing made for [' framed to represent '] Alexander. — 
 CorioL. V. 4. 
 
 Make for [' direct your course to,' ' repair to '] Sicilia ; and there present yourself. — 
 W. T., iv. 3. 
 
 He makes for ['shapes his course towards'] England. — R. III., iv. 4. 
 
 Therefore the dukes of Berry and of Bretagne .... shall make forth [' set out, 
 ' depart ], and you. — H. V., ii. 4. 
 
 Make forth [' march forward,' ' advance '] ; the generals. — ^ul. C, v. i. 
 
 The bow is bent and drawn, make from [' get out of the way of,' ' stand clear of,' 
 'hasten away from '] the shaft. — Lear, i. i. 
 
 Get posts and letters, and make friends [' collect friends,' ' gather together those who 
 are friendly to our cause ']. — 2 H. IV., i. i. 
 
 For those you make friends ['win into friendship with you,' ' treat as friends '], and 
 give your hearts to. — H. VIII., ii. i. 
 
 I pray you, make us friends [' establish a friendly relation between us '] ; I will 
 pursue the amity. — AlVs W., ii. 5. 
 
 Since this bar in law makes us friends [' produces friendship between us '], it shall be 
 so far forth. — Tarn, of S., i. i. 
 
 Which since we cannot do to make you friends [' render you friendly to each other '], 
 be ready, as your lives. — R. II., i. i. 
 
 Our best friends made ['secured,' 'attached firmly to us'], and our best means 
 stretch d out. — Jul. C, iv. i. 
 
 And all thy friends — which thou must make thy friends [' secure in friendly bonds,' 
 'attach firmlv,' 'strengthen into friendly adherents'] — have but their stings. — 
 2 H. IV.. iv. 4. 
 
 The poor advanc'd makes friends of enemies [' turns enemies into friends '] . And 
 hitherto doth love on fortune tend. — Hamlet, iii. 2. 
 
 This I made good [' rendered obvious,' ' verified,' ' proved '] to you in our last con- 
 ference. — Macb., iii. i- 
 
 Our potency made good ['established,' 'proved,' 'testified'], take thy reward. — 
 Lear, i. i. 
 
 Saw'st thou not, boy, how Silver made it good [' recovered the lost scent,' ' re-esta- 
 blished the track of the game '] at the hedge corner, in the coldest fault ? — Tarn, of S., 
 Indue. I. 
 
 Made good [' rendered impassable,' ' firmly blocked up,' ' resolutely defended '] the 
 passage, cried to those that fled. — Cym., v. 3. 
 
 What I told you then, I hope I shall have leisure to make good [' confirm,' ' fulfil,' 
 ' realise ']. — Com. of E., v. i. 
 
 This letter doth make good [' confirm,' ' prove true '] the friar's words. — 
 R. &■ Jul., V. 3. 
 
 Here to make good [' confirm,' ' maintain,' ' uphold '] the boisterous late appeal . . 
 My body shall make good upon this earth. — R. II., i. i. 
 
38o THE SHAKESPEARE KEY. 
 
 Take convenient numbers to make good ['defend,' 'hold' sure possession of] the 
 city. — CorioL, i. 5. 
 
 I will make it good [' confirm my words,' ' back my accusation '] how you dare, 
 with what you dare, and when you dare. — AI. Ado, v. i. 
 
 Shall be their father's bail. ... I '11 warrant they '11 make it good [' support it.' 
 ' ratify it '].— 2 H. VI., v. 1. 
 
 Hector . . shall make it good ['uphold his challenge']. — Tr. &• Cr., i. 3. 
 
 Make thai good [' prove that assertion,' ' explain that saying ']. — Tw. N., i. 5. 
 
 If he make this good [' verify this eulogy of him '], he is.- — Two G. of V., ii. 4. 
 
 What power is in Agrippa, if I would say, " Agrippa, be it so," to make this good 
 [' substantiate this proposal ']. — Ant. &• C, ii. 2. 
 
 Then go with me, to make the matter good [' put the plan in practice,' ' carry out 
 our scheme '].—Tam. of S., iv. 2. 
 
 Three times hath Henry Bolingbroke made head [' raised a hostile force,' ' risen in 
 rebellion '] against my power. — i H. IV:, iii. i. 
 
 When Tarquin made a head for Rome, he fought. — CorioL, ii. 2. 
 
 Tullus Aufidius, then, had made new head? — Ibid., iii. i. 
 
 Let us make head [' raise a hostile force,' ' rise in rebellion ']. — 2 H. IV., i. i. 
 
 We must straight make head. — Jul. C, iv. i. 
 
 If we, without his help, can make a head to push. — i H. IV., iv. i. 
 
 In time, may make some stronger head [' offer a more rebellious opposition,' ' rise into 
 rebellion ']. — Cym., iv. 2. 
 
 Making another head [' raising a fresh force '] to fight again. — 3 H. VI., ii. i. 
 
 And all indign and base adversities 
 
 Make head [' muster hostilely '] against my estimation ! — 0th., i. 3. 
 
 Make holiday ['revel festively,' 'play instead of work']. — Temp., iv. i. 
 
 But, indeed, sir, we make holiday, to see Caesar. — ful. C, i. i. 
 
 In which time I will make a Up ['look scornfully,' or ' mockingly'] at the physician. 
 —CorioL, ii. i. 
 
 And make and mar [' fulfil and frustrate'] the foolish fates. — Mid. N. D., i. 2. 
 
 It makes him, and it mars him [' it inspirits him,' ' and it dispirits him '] ; it sets him 
 on, and it takes him oS.—Macb., ii. 3. 
 
 It makes us, or it mars us [' it gives us complete success, or it discomfits us entirely '] ; 
 think on that. — 0th., v. 1. 
 
 I '11 make one [' take a part '] in a dance, or so. — Love's L. L., v. i. 
 
 To make one [' be one '] among these wooers. — Tam. of S., i. i. 
 
 Lucentio shall make one, though Paris came. — Ibid., i. 2. 
 
 I '11 make one [' be of the party '] too. — Tw. N., ii. 5. 
 
 Where thou wilt, lad, I '11 make one. . . . Hal, wilt thou make one ? — i H. IV., i. 2. 
 
 I could wish to make one [' be one of the combatants '] there. — Per., ii. i. 
 
 I shall make two [' be a second '] in the company. — Merry W., iii. 3. 
 
 I will plant you two, and let the fool make a third [ ' be a third in this party '], where 
 he shall find the letter. — Tw. A'., ii. 3. 
 
 There 's two of you ; the devil make a third [' may form a third of the same descrip- 
 tion ']. — 2 H. VI., iii. 2. 
 
 Seven of my people, with an obedient start, make out [' hasten out of the room '] for 
 him. — Tw. N., ii. 5. 
 
 You are a merry gamester, my lord Sands. — Yes, if I make my play [' succeed in my 
 play,' ' win my game ']. — H. VIII., i. 4. 
 
 Every way makes my game * [' ensures my success,' ' wins the stake I play for,' ' suits 
 my purpose ']. — 0th., v. i. 
 
 * " Game " is the word in the Quarto reading of this passage ; ' gaine ' in the First 
 and Second Folio, and ' gain ' in the Third Folio. 
 
IDIOMS. 381 
 
 Made prize and purchase of ['took captive and secured'] his wanton eye. — 
 R. III., iii. 7. 
 
 Csesar's no merchant, to make prize ['take account,' 'reckon up,' ' chaffer'] with you 
 of things that. — Ant. & C, y. 2. 
 
 Let 's fetch him off, or make remain [' remain,' ' stay '] alike. — Coriol., i. 4. 
 
 That to our sister you do make return [' return,' ' go back ']. — Lear, ii. 4. 
 
 To make road [' make an inroad,' ' march hostilely '] upon us again. — CorioL, iii. i. 
 
 Or a part to tear a cat in, to make all split [' rant and roar ']. — Mid. X. D., i. 2. 
 
 Is it your will to make a stale of me [' offer me as a stale bargain,' ' put me into the 
 awkward dilemna of being offered to the first bidder'] amongst these mates. — Tam^ 
 ofS., i. I. 
 
 Had he none else to make a stale [' make a dupe of,' ' make a stalking-horse of] but 
 me ? — 3 H. VI., iii. 3. 
 
 This is the pent-house under which Lorenzo desir'd us to make stand [' stand,' ' take 
 up our stand 'J. — Mcr. of V., ii. 6. 
 
 Doth make a stand at [' resolve upon,' ' decide upon,' ' fix upon '] what your highness 
 will. — John, iv. 2. 
 
 In this covert will we make our stand [' take up our stand']. — 3 H. VI., iii. i. 
 
 Therefore I 11 make him sure [' make sure of him,' ' make sure work with him '] ; yea, 
 and I '11 swear I killed him. — i H. IV.. v. 4. 
 
 If I can get him within my pistol's length, 
 
 I '11 make him sure. — Per., i. i. 
 
 Of late made many tenders of [' frequently proffered,' ' often professed '] his affection 
 to me. — Hamlet, i. 3. 
 
 If she should make tender of [' proffer,' ' offer,' ' profess '] her love, 'tis very possible 
 he '11 scorn it. — M. Ado, ii. 3. 
 
 May make tender of lo thy true worthiness. — Love's L. L., ii. i. 
 
 And show'd thou mak'st some tender of [' hast some loving regard for,' ' boldest in 
 some tenderness '] my life, — i H. IV., v. 4. 
 
 All other circumstances made up [' being confirmatory '] to the deed. — W. T., ii. i. 
 
 Sent before my time into this breathing world, scarce half made up ['formed, 
 'framed'].— i?. 77/., i. i. 
 
 Being scarce made up [' grown,' ' arrived '], I mean, to man, he had not apprehension 
 of. — Cym., iv. 2. 
 
 Each syllable that breath made up [' formed,' ' gave utterance to '] between them. — 
 0th., iv. 2. 
 
 Remain assur'd that he's a made up ['consummate,' 'complete,' 'accomplished,' 
 ' finished '] villain. — Timon, v. i. 
 
 Will make up full clear [' fully clear up,' ' make fully and clearly apparent '], when- 
 soever he 's convented. — M. for M., v. i. 
 
 As strongly as words could make up [' constitute '] vows. — Ibid., v. i. 
 
 Beg thou, or borrow, to make up [' complete,' * ' raise in full '] the sum. — 
 Com. of E., i. I. 
 
 Two of both kinds make tip [' amount to '] four. — Mid. N. D., iii. 2. 
 
 That you three fools lack'd me fool, to muke up [' complete,' ' fulfil the complement 
 of] the mess. — Love's L. L., iv. 3. 
 
 O, ay, make up [' make out the full meaning of] that. — Tw. N., ii. 5. 
 
 Philip, make up [' bring up your forces '] : my mother is assail'd. — fohn, iii. 2. 
 
 I beseech vour majesty, make up, lest your retirement do amaze your friends . . 
 Make up to Clifton : I '11 to Sir Nicholas.— i H. IV., v. 4. 
 
 The sands are number'd that make up [' sum up '] my life. — 3 H. VI., i. 4. 
 
 He makes up [' designs,' ' appoints the names on,' ' selects those who are to be on '] 
 the file of all the gentry.— H. VIII., i. i. 
 
 Than to make up [' form,' ' come to '] a free determination. — Tr. <&■ Cr., ii. 2. 
 
3S2 THE SHAKESPEARE KEY. 
 
 Could not, with all their quantity of love, 
 
 Make up [' amount to '] my sum. — Hamlet, v. i. 
 
 Election makes not up [' cannot come to a decision '] on such conditions. — Lear, i. i. 
 
 The gods make iip [' confer an equivalent for '] the rest upon you ! — Per., iii. 3. 
 
 This bottle makes an angel [' amounts to an angel of money '] that I have already 
 spent for you. — i H. IV., iv. 2. 
 
 While I make way [' hasten away '] from hence to save my life. — Tam. of S., i. i. 
 
 Make li'nv [' give me room to pass '], unruly woman ! — R. II., v. 2. 
 
 This might have been prevented, and made whole [' set to rights,' ' adjusted '], with 
 very easy rguments of love. — Jolni, i. i. 
 
 For their own credit sake, make all whole [' settle matters duly,' ' adjust all diffi- 
 culties,' ' put matters straight ']. — i H. IV., ii. i. 
 
 You shall make it whole [' restore it to good and harmonious condition '] again ; you 
 shall piece it out with a piece of. — Tr. &• Cr., iii. i. 
 
 A piece of work that will make sick men whole [' restore sick men to health,' ' render 
 sick men well ']. — yul. C, ii. i. 
 
 That no manner person [' no kind of person,' ' no person whatever '] have any time 
 recourse unto the princes. — R. III., iii. 5. 
 
 I think vour highness saw this many a day ['has seen for this period of many days']. 
 —H. Vlli., V. 2. 
 
 Many a time and often [' very many times and frequently.' See Pleonasms] I have 
 dined with him. — Timon, iii. i. 
 
 Done. The wager ? — A laughter. — A match [' agreed ']. — Temp., ii. i. 
 
 You shall have it, worthy sir. — A match [' agreed ; ' and, punningly, ' a pair '] there 
 is in all two worthy voices begged. — Coriol., ii. 3. 
 
 Or I '11 cry a match [' affirm that I have won the race ']. — R. &• Jul., ii. 4. 
 
 I vill teach a scurvy Jack-a-nape priest to meddle or make [' interfere and make 
 mischief']. — Merry W., i. 4. 
 
 The less you meddle or make [' interfere,' ' have to do '] with them, why, the more 
 is for your honesty. — M. Ado, iii. 3. 
 
 I '11 not meddle nor make [' mix myself up,' ' interfere '] no farther. — Tr. Sy Cr., i. i. 
 
 Spirit, we must prepare to meet with [' counteract,' ' defeat by opposing measures '] 
 Caliban. — Temp., iv. i. 
 
 That Falstaff at that oak shall meet with [' come according to assignation with '] us. 
 — Merry W., iv. 2. 
 
 How rarely does it meet with [' accord with,' ' consist with '] this time's guise, when 
 man was wished to love his enemies ! — Timon, iv. 3. 
 
 Me secmeth [' it appears to me '] good, that, with some. —R. III., ii. 2. 
 Methinks [' I think,' ' it seems to me '] he hath no drowning mark. — Temp., i. i. 
 
 My loving greetings to those of mine [' those who belong to me,' ' my relations,' ' my 
 kinsfolk'] in court. — All's W., i._3. 
 
 A gentleman of mine [' belonging to my retinue '] I have despatched with letters. 
 —R. II., iii. I. 
 
 God, I fear, thy justice will take hold 
 
 On me, and you, and mine [' those who belong or are related to me '], and yours, 
 for this. — R. III., ii. i. 
 
 That you shall all repent the loss of ;;»'kc[' my relatives, ''my kinsmen']. — R. S^yul. , in. l. 
 
 Look, here comes one, a gentlewoman of mine [' under my charge, care, or juris- 
 diction ']. — M.for M., ii. 3. 
 
 But, as 'tis, we cannot miss [' cannot do without '] him. — Temp., i. 2. 
 
 Your free undertaking cannot miss [' cannot fail to have '] a thriving issue. — W. T., ii. 2. 
 
 He misses not [' does not err,' ' does not mistake '] much. — Temp., ii. 2. 
 
 Who might be your mother ? [This phrase, in reference to a beauty's " mother^' 
 appears to us to contain some idiomatic scoff, the point of which was known at the 
 
IDIOMS. 383 
 
 time when Shakespeare wrote ; but which it is difficult to ascertain at present. See 
 our next-quoted passage, in support of our belief]. — As You L., iii. 5. 
 
 Some jay of Italy, whose mother was her painting [' the producer of whose beauty 
 was her rouged face,' ' whose sole origin of comeliness was her painted complexion ' ; 
 also including the scoff we believe to be involved in our precedingly quoted passage. 
 See, moreover, the two following passages]. — Cym., iii. 4. 
 
 Nor thy tailor, rascal, who is thy grandfather : he made those clothes, which, as it 
 seems, make thee. — Ibid., iv. 2. 
 
 You cowardly rascal, nature disclaims in thee : a tailor made thee. — Lear, ii. 2. 
 
 Why, I said nothing. — Mum [' be silent,' ' silence '], then, and no more. — Temf., iii. 2. 
 
 Speak not you to him, till we call upon you. — Mum [' I am silent,' ' I will be silent ']. — 
 M.for M., V. I. 
 
 I will hold my tongue ; so your face bids me, though you say nothing. Mum, mum. — 
 Lear, i. 4. 
 
 The citizens are mum [' are silent '], say not a word. — R. III., iii. 7. 
 
 That 's as much as to say, bastard virtues ; that, indeed, know not their fathers, and 
 therefore have no names [' are illegitimate ']. — Two G. of V., iii. i. 
 
 Then, belike, my children shall have no names ['be illegitimate']. — Ant. &' C, i. 2. 
 
 Thy issue blurr'd with nameless [' illegitimate '] bastardy. — Lucrece, Stanza 75. 
 
 I have cases of buckram for the nonce ['for the occasion,' ' for the emergency'], to 
 immask our noted outward garments. — i H. IV., i. 2. 
 
 This is a riddling merchant/or the nonce [' for the occasion,' ' now']. — iH. VI., ii. 3. 
 
 I '11 have prepar'd him a chalice for the nonce [' for that occasion,' ' for the special 
 purpose ']. — Hamlet, iv. 7. 
 
 By seven o'clock [' of the clock,' ' on the clock '] I '11 get. — Two G. of V., iii. i. 
 
 I pray what is 't o'clock [' what is the time by the clock ']. — As You L., iii. 2. 
 
 Eighty odd [' eighty and some more '] years of sorrow. — R. III., iv. i. 
 
 Of wounds two dozen odd ['two dozen and more']. — Coriol., ii. 3. 
 
 Every tod yields — pound and odd shilling [' a pound and some shillings over, or 
 more']. — W. T., iv. 2. 
 
 Three hundred and odd [' three hundred and some more '] pounds. — i H. IV., iv. 2. 
 
 A fortnight, and odd days [' and some days more ']. — R. &• Jul., i. 3. 
 
 The fox, the ape. and the humble-bee 
 
 Were still at odds [' forming an odd number ; ' and, punningly, ' at variance with each 
 other '], being but three. — Love's L. L., iii. i. 
 
 I do not know that Englishman alive, with whom my soul is any jot at odds [' at 
 outs,' ' out of favour,' ' unagreed,' ' in quarrel ']. — R. III., ii. i. 
 
 And pity 'tis you liv'd at odds so long. — R. &• yul., i. 2. 
 
 What is the night ? — Almost at odds [' at an even question,' ' at a moot point,' ' at an 
 uncertain period] with morning, which is which. — Macb., iii. i. 
 
 Every hour he flashes into one gross crime or other, that sets us all at odds [' at 
 variance,' ' in opposition to each other,' ' in disorder,' ' in confusion ']. — Lear, i. 3. 
 
 His quails ever beat mine, inhoop'd, at odds [' when pitted against each other,' and 
 'when there is a more than even wager pending']. — Ant. & C, ii. 3. 
 
 I shall win at the odds [' even if there be an unequal bet laid on my winning'] 
 . . . your grace hath laid the odds [' laid a more than even wager *] . . . we have 
 therefore odds [' the advantage on our side']. — Hamlet, v. 2. 
 
 Is at most odds [' most at variance,' ' most out of keeping '] with his own gravity and 
 patience that ever you saw. — Merry W., iii. i. 
 
 The odds is ['it is more than an even chance'], that we scarce are men, and you 
 are gods. — Cym., v. 2. 
 
 But now 'tis odds [' there is an inequality of chances '] beyond arithmetic. — 
 Coriol., iii. i. 
 
 And, of that natural luck, he beats thee 'gainst the odds [' against all probabilities 
 of superior advantage in unequal betting']. — Ant. &■ C, ii. 3. 
 
384 THE SHAKESPEARE KEY. 
 
 Hold, sir, or / 'II throw your dagger o'er the house [' I '11 attack you recklessly, 
 furiously']. — Tm. N., iv. i. 
 
 That / have shot mine arrow o'er the house [' I have made a reckless aim,' ' I have 
 behaved too regardlessly '] . — Hamlet, v. 2. 
 
 Nor with such free and friendly conference. 
 
 As he hath us'd of old ['formerly,' ' in former times ']. — jful. C, iv. 2. 
 
 Even for that our love 0/ old, I pray thee, hold thou. — Ibid., v. 5. 
 
 For those of old, and the late dignities heap'd up. — Macb.. i. 6. 
 
 Three talents on the present [' on the moment,' ' on the nail,' ' in present payment '] ; 
 in future, all. — Timon, i. i. 
 
 But that's all one ['that is of no consequence'], if he be. — Two G. of V., iii. i. 
 
 But, I warrant you, all is one [' it is of no consequence,' ' it is no matter '] with her. — 
 Merry W., ii. 2. 
 
 Must needs be granted to be much at one ['of one rate of goodness,' 'upon a par']. — 
 H. v., V. 2. 
 
 I would we were all of one mind [' of the same way of thinking,' ' of the same 
 opinion '], and one mind good. — Cym., v. 4. 
 
 Both our inventions meet and jump in one [' accord together,' ' prove one and the 
 same ']. — Tarn, of S., i. i. 
 
 Whose mind and mine, I know, in that are one ['are the same,' 'are agreed']. — 
 Lear, i. 3. 
 
 I met a courier, one mine ancient friend [' an old friend of mine,' ' one of my old 
 friends.' See Italian Idiom]. — Timon, v. 3. 
 
 Motley 's the only wear [' the best,' ' the most excellent,' ' the chief thing for 
 wearing']. . . . It is my only suit. — As You L., ii. 7. 
 
 Glasses, glasses, is the only drinking [' the best for drinking from']. — 2 H. IV., ii. i. 
 
 He is the only [' chiefest,' ' highest in excellence '] man in Italy. — M. Ado, iii. i. 
 
 Your worm is your only [' choicest '] emperor for diet. — Hamlet, iv. 3. 
 
 Here she comes weeping for her only [' chief,' ' principal '] mistress' death. — 
 Per., iv. I. 
 
 Thou wast not out [' completely '] three years old. — Temp., i. 2. 
 
 Could speak thee out [' completely,' ' thoroughly']. — H. VIII., ii. 4. 
 
 Thou hast beat me out [' out and out,' ' thoroughly '] twelve several times. — 
 Coriol., iv. 5. 
 
 Very good orators, when they are out [' put out,' ' disconcerted '], they will spit. — 
 As You L., iv. I. 
 
 When the butt is out ['empty,' 'exhausted'], we will drink water. — Temp., iii. 2. 
 
 The limit of your lives is out [' expired ']. — R. III., iii. 3. 
 
 On the catastrophe and heel of pastime. 
 
 When it was out ['over,' ' at an end,' 'concluded']. — All's TV., i. 2. 
 
 Why dost thou not speak. Elbow ? — He cannot, sir, he s out at elbow [' he has a 
 threadbare coat;' and, punningly, 'he is startled and put out by this peremptory 
 repetition of his name ']. — M. for M., ii. i. 
 
 Well, sirs, I am almost out at heels [' penniless,' ' ragged,' ' ill-shod ']. — Merry W., i. 3. 
 
 The poor jade is wrung in the withers out of all cess [' out of all measure,' ' bej'ond 
 reckoning,' ' excessively']. — i H. IV,, ii. i. 
 
 He loved her out of all nick [' beyond all means of reckoning ']. — Two G. of V., iv. 2. 
 
 And yet again, wonderful, and after that, out of all whooping ! [' beyond the loudest 
 exclamations of amazement ']. — As Yon L., iii. 2. 
 
 Should have kept short, restrain'd, and out of haunt [' out of company,' ' apart from 
 general concourse or society']. — Hamlet, iv. i. 
 
 And I paid nothing for it neither, but was paid [' paid out,' ' served out,' ' beaten'] 
 for my learning. — Merry W., iv. 5. 
 
 Two, I am sure, I have paid . . . seven of the eleven I paid. — i H. IV., ii. 4. 
 
 I have paid Percy, I have made him sure. — Ibid., v. 3. 
 
IDIOMS. 385 
 
 I am paid [' punished,' ' made to suffer '] for 't now. — Ant. &• C, ii. 5. 
 
 Here 's that, I warrant you, will pay them [' pay them out '] all. — Com. of E., iv. 2. 
 
 Swore he would pay him again [' serve him out,' ' give him like for like '] when he 
 was able. — Mcr. of V., i. 2.. 
 
 Or he shall pay [' suffer severely '] for this. — Ibid., ii. 8. 
 
 If this prove true they '11 ^ay for't. — W. T., ii. i. 
 
 If we prevail, their heads shall pay [' pay the penalty '] for it. — R. II., iii. :i. 
 
 You pay him [' punish him,' ' pay him out '] then ! — H. V., iv. i. 
 
 He pays you [' retaliates upon you,' ' pitches into you '] as surely as your feet hit the 
 ground they step on. — Tw. N., iii. 4. 
 
 Pardon me [' forgive me '] wife. Henceforth do what thou wilt. — Merry W., iv. 4. 
 
 Oh, sir, pardon me ! [' excuse me '].* — Ant. &• C, iv. 12. 
 
 Your graces find me here part of a housewife [' somewhat of a housewife,' ' in some 
 measure a housewife']. — H. VIII., iii. i. 
 
 As 'twere in love's particular [' from a motive of particular affection '], be more to me. 
 your friend, than any. — Ibid., iii. 2. 
 
 Who lov'd him in a most dear particular ['with a most particular affection']. — 
 Coriol., V. 1. 
 
 Yet our old love made a particular force [' acted with special effect,' ' gave the motive 
 of private feeling ']. — Timon, v. 3. 
 
 Nor does the ministration and required office on my particular [' as regards me in 
 particular,' ' in my own person,' ' in me personally '].— All's W., ii. 5. 
 
 As far as touches my particular [' as regards myself']. — Tr. &• Cr., ii. 2. 
 
 My more particular ['my own more personal motive'], and that which most with you 
 . should safe my going, is Fulvia's death. — Ant. &• C, i. 3. 
 
 Of him, that, his particular to foresee [' having an eye to his own private interest '], 
 smells from the general weal. — -Timon, iv. 3. 
 
 Yet I wish, sir (I mts.n, for your particular [' for your own sake']. — Coriol., iv. 7. 
 
 Forgive me in thine own particular [' as regards thyself,' ' in thine own person '] ; but 
 let the world. — Ant. &• C, iv. g. 
 
 For his particular [' as far as himself is concerned '], I '11 receive him gladly, but not 
 one follower. — Lear, ii. 4. 
 
 As for these silken-coated slaves, / pass not [' I care not,' ' I heed not,' ' I pa\' no 
 regard to them.' See " Force not," previously cited]. — 2 H. VI., iv. 2. 
 
 Though well we may not ^ass k/o» [' pass judgment upon,' ' pass sentence upon,' 
 ' decide condemningly upon 'J his life without the form of justice, yet our power shall 
 do. — Lear, iii. 7. 
 
 The jury, passing on [' passing judgment on,' ' passing sentence on '] the prisoner's 
 life, may . . . what know the laws that thieves do pass on [' pass sentence on 'J 
 thieves? — M.for M., ii. i. 
 
 The women so cried and shriek'd at it, that it passed [' it exceeded all belief.' ' it was 
 beyond imagination ']. — Merry W., i. i. 
 
 And all the rest so laughed, that it passed. — Tr. &• Cr., i. 2. 
 
 A most incomparable man . . . he passes [' he surpasses,' ' he excels,' ' he exceeds 
 the ordinary race of men']. — Timon, i. i. 
 
 ■Why, this passes ! [' this exceeds belief,' ' this goes beyond the bounds of credi- 
 bility']. . . • This passes I — Merry W., iv. 2. 
 
 'Tis passing good [' excellent'] : I pr'ythee let me have it. — Tain, of S., iv. 3. 
 
 The which he loved passing well [' extremely '] ... a daughter that I love passing 
 well. — Hamlet, ii. 2. 
 
 A maiden battle, then ? 0,7 perceive you [' I understand your meaning,' ' I percei\e 
 your drift ']. — Tr. &• Cr., iv. 5. 
 
 * Sec " Richard II.," v. 3, for a. passage in illustration of these two modes of 
 using " pardon me " ; where York says : — 
 
 " Speak it in French, king ; say, pardonnez moi." 
 
3S6 THE SHAKESPEARE KEY. 
 
 Nay, conceive me, conceive me [' comprehend what I mean '], sweet coz ; what I do, 
 is to pleasure you, coz. — Merry W., i. i. 
 
 / cannot conceive you [' I do not understand your meaning']. — Lear, i. i. 
 
 Tilt, a pin ! [' pooh, nonsense ! ' ' pshaw, this is trifling ! '] this shall be answered — 
 Merry W., i. i. 
 
 Pho, pho ! come, tell a pin [' you are talking nonsense,' ' you are trifling '] : you are 
 forsworn. — Tr. &• Cr., v. 2. 
 
 No matter for the dish, sir. — No, indeed, sir, not of a pin ['it does not signify a jot.' 
 ' it is no matter in the least']. — M.for M., ii. i. 
 
 I would not care a pin [' care the least,' ' care the most trifling amount '] if the other 
 three were in. — Love's L. L., iv. 3. 
 
 Yet here 's one in place [' now present '] I cannot pardon. — M.for M., v. i. 
 
 As firmly as yourself were still in place [' there present']. — Tarn. ofS., i. 2. 
 
 When yet you were in place f in worldly position '], and in account, nothing so 
 strong and fortunate as I. — i H. IV., v. i. 
 
 An I had thee in place where [' in a spot where we might fight it out,' ' in a fitting 
 spot'], thou shouldst know it. — Tarn, of S., iv. 3. 
 
 Ay, or very falsely pocket up [' receive,' ' accept for true '] his report. — Temp., ii. i. 
 
 Let me pocket up [' put in mv pocket,' ' hide awav '] mv pedler's excrement. — 
 IK. T., iv. 3. 
 
 You 6.iA pocket up [' put away unread '] my letters. — Ant. &• C, ii. 2. 
 
 ■Well, ruffian, I must pocket up ['put up with,' 'bear,' 'brook,' 'endure'] these wrongs 
 because. — jfohn, iii. i. 
 
 You will not pocket up wrong. — i H. IV., iii. 3. 
 
 If I should take from another's pocket, to put into mine ; for it is plain pocketing 2'.t< 
 of wrongs [' putting up with injuries,' and, punningly, ' putting stolen goods into one's 
 ■ pocket '] — H. v., iii. 2. 
 
 Bequeathed me by will but poor a thousand crowns [' a mere thousand crowns.' Sec 
 Italian Idiom].— .(4i You L., i. i. 
 
 A hundred upon poor four of us [' merely four of us ']. — i H. IV.. ii. 4. 
 
 Ah, poor our sex [' our poor sex '], this fault in us I find. — Tr. &• Cr., v. i. 
 
 Ah, poor, my lord [' my poor lord '], what tongue shall smooth ? — R. &' J^ul., iii. 2. 
 
 ■What poor an instrument ['how poor an instrument,' ' what a poor instrument'] mav 
 do a noble deed ! — Ant. &• C, v. 2. 
 
 See, they have shut him in. — To the pot [' gone to pot,' ' gone to perdition '], I warrant 
 him. — Coriol., i. 4. 
 
 She is now the wife of Marcus Antonius. — Pray you Tsimilar to ' I beg your pardon ? ' 
 used to imply, ' Did I understand you rightly ? ' or ' What did you say ? '], sir ? — 'Tis 
 true. — Ant. &• C, ii. 6. 
 
 I do not like thy look, I promise thee [' I can assure thee ']. — .V. Ado, iv. 2. 
 
 Not by my consent, I promise you [' I assure you ']. — Merry W., iii. 2. 
 
 Will you sup with me to-night, Casca ? — No, I am promised forth [' engaged to go out,' 
 ' under a promise to visit elsewhere ']. — Jul. C, i. 2. 
 
 And all my pains is sorted to no proof [' proved of no avail,' ' tended to no purpose, 
 'met with no approval ']. — Tarn, of S.. iv. 3. 
 
 But to the purpose ['let us proceed at once to the point in question'] — Two C. 
 of v., iv. I. 
 
 And my misgiving still falls shrewdly to the purpose [' apt in its drift,' ' appositeh'. 
 ' correct in its aim ']. — Jul. C, iii. i. 
 
 What should we say, my lord ? — Why, anything — but to the purpose [' strai^ht- 
 for%vardIy,' ' with directness and truth ']. — Hamlet, ii. 2. 
 
 Since, of two usuries, the merriest was put down ['suppressed'], and the worser 
 allowed by order of law a furred gown. — M.for M.. iii. 2. 
 
 You have put him down ['silenced him,' 'snubbed him.' 'mortified and quashed 
 him,' ' subdued him '], lady, you have^Ki him down. — M. Ado, ii. i. 
 
IDIOMS. 387 
 
 Mark now, how a plain tale shsdl put you down ['confute you']. — i H. IV., ii. 4. 
 
 To seek to put me down ['depose me'], and reign thyself. — 3 H. VI., i. i. 
 
 It is best put finger in th,e eye ['whimper,' ' cry like a baby'], an she knew why. — 
 Tarn, of S., i. i. 
 
 No longer will I be a fool, to^7(i the finger in the eye, and weep. — Com. of E., ii. 2. 
 
 Pnt in [' cut in,' ' go forward,' ' make your claim,' ' present your bill '] now, Titus. — 
 Timon, iii. 4. 
 
 The ship is here put in [' entered the port,' ' sailed into the harbour ']. — 0th., ii. i. 
 
 Who /!!< unluckily I'/iio [' sailed into '] this bay. — Com. of E., v. i. 
 
 I see, lady, the gentleman is not in your books ['not in your favour,' ' not in your 
 good graces']. — M. Ado, i. i. 
 
 O, put mc in thy books [' take me into your good graces ']. — Tarn, of S., ii. i. 
 
 He hath ta'en yoii newly into his grace [' taken you lately into his favour ']. — 
 M. Ado, i. 3. 
 
 Will you he put inmind ['reminded'] of his blind fortune. — Coriol., v. 5. 
 
 I am thus bold to put your grace in mind [' remind your grace '] of what you 
 promis'd me. — R. III., iv. 2. 
 
 I '11 put it in proof [' put it to the proof,' ' put it in practice ']. — Lear., iv. 6. 
 
 Go, put it to the haste ['put it into speedy execution,' 'do it quickly']. — Ant. 
 & C, V. 1. 
 
 As common bruit doth/ai it [' represent it']. — Timon, v. 2. 
 
 I do repent me that I put it [' suggested it '] to you. — 0th., iii. 3. 
 
 I will show you such a necessity in his death, that you shall think yourself bound 
 to put it [' inflict it '] on him. — Ibid., iv. 2. 
 
 I put you o'er [' refer you'] to heaven, and to my mother. — John, i. i. 
 
 Even here I will put off [' give up,' ' yield,' ' discard '] my hope. — Temp., iii. 3. 
 
 Yet I cannot put off [' alter,' ' reverse '] my opinion so easily. — Merry W., ii. i. 
 
 But^;<(5 it off [' defers it'] to a compell'd restraint. — All's W., ii. 4. 
 
 Finely put off I [' shot, as a telling retort,' ' thrust, as a parrying rejoinder']. . . 
 Finely ^Ht on [' urged, as a final home-blow']. . . . Finely ^«f on, indeed! — Love's 
 L. L.', iv. I. 
 
 Put off [' lay aside,' ' cease '] your maiden blushes. — H. V., v. 2. 
 
 Have put off [' discarded,' ' discharged '] the spinsters, carders, fullers, weavers, who, 
 unfit for other life, compell'd. — H. VIII., i. 2. 
 
 He hath sent me an earnest inviting, which many my near occasions did urge me 
 to put off [' decline,' ' waive,' ' excuse myself from accepting']. — Timon, iii. 6. 
 
 Puts him off [' foils him,' ' baffles him,' ' snubs him,' ' parries his attack '], slights him. 
 with " Whoop, do me no harm, good man." — W. T., iv. 3. 
 
 That thus you should proceed 10 put me off [' repudiate me,' ' divorce me,' ' put me 
 away '], and take your good grace from me ? — H. VIII., ii. 4. 
 
 He hath put me off ['postponed me,' 'prorogued me,' 'deferred me'] to the suc- 
 cession of new days this month. . . . Your steward^Jiis me off, my lord. — Timon, ii. 2. 
 
 Ay, and the targets, to put off [' avert,' ' protect from '] the shame. — Per., i. i. 
 
 There 's a barge /«< off from [' left the harbour of,' ' left the shore of] Mitylene. — 
 Ibid., V. I. 
 
 Let me cut the cable : and, when we are put off [' away from the harbour,' ' away 
 from the land '], fall to their throats. — Ant. &■ C, ii. 7. 
 
 What place make you special, when you put off [' dismiss '] that with such contempt ? 
 
 . He may easily put it off [' dismiss a subject,' ' parry an .attack,' ' carry a matter 
 
 off coolly 'j at court : he that cannot make a leg, put off's ['take off'] his cap, kiss his 
 
 hand • . . . Lord, sir ! there 's a simple putting-off [' means of parrying an attack,' 
 
 ' carrying off a matter coolly']. — All's W., ii. 2. 
 
 Try your penitence, if it be sound, or hollowly /ai on [' assumed']. — M.for M.,ii. 3. 
 
 Which he will put on us [' cram us with,' ' force upon us '], as pigeons feed their 
 young. — As You L., i. 2. 
 
388 THE SHAKESPEARE KEY. 
 
 And the powers above ^M< ore ['urge forward,' 'incite'] their instruments. — Macb.,\v.'i. 
 
 If it be so (as so 'tis put oh [' suggested to,' ' hinted to '] me). — Hamlet, i. 3. 
 
 And there ^Mf on [' impute to '] him what forgeries. — Ibid., ii. i. 
 
 Devils will the blackest sins pnt on [' instigate ']. — 0th., ii. 3. 
 
 Say, you ne'er had done 't (harp on that still) but by our putting-on [' instigation, 
 'incitement']. — CorioL, ii. 3. 
 
 Than inputting on ['assuming,' ' wearing'] the mere form. — 0th., ii. i. 
 
 You are abus''d, and by %om& putter-on [' instigator,' ' inciter,' ' suggester'], that will 
 be damn'd for \.—W. T., ii. i. 
 
 As putter-on [' instigator and imposer,'] of these exactions. — H. VIII., i. 2. 
 
 What not put upon [' impute to,' 'lay to the charge of] his spungy officers, who 
 shall bear the guilt. — Macb., i. 7. 
 
 And put upon him [' assumed,' ' gave himself the airs of] such a deal of man, that 
 worthied him — Lear, ii. 2. 
 
 You put me [' compel me,' ' force me '] to forget a lady's manners. — Cym., ii. 3. 
 
 And put us [' compel us,' ' constrain us '] to our answer. — Ibid., iv. 2. 
 
 Then she puts you to [' brings you,' ' causes you to make '] entreaty, and there begins 
 new mattter. — As You L., iv. i. 
 
 /shall now put you [' test you,' ' try you '] to the height of your breeding. — All's W.,ii. 2. 
 
 You have put me now to [' set me now to enact,' ' induced me now to perform '] such 
 a part. — CorioL, Hi. 2. 
 
 hei him put me to my purgation [' pat jne to the test,' 'bring me to my proof']. — 
 As You L., V. 4. 
 
 For me to ptit him to his purgation [' bring him to book,' ' cleanse his impurities '] 
 . would, perhaps, plunge him. — Hamlet, Hi. 2. 
 
 gentle lady, do not ptit me to 't [' set me this task']. — 0th., ii. i. 
 
 Mark Antony put me to [' drove me to,' ' excited me to,' ' roused me to '] some 
 impatience. — Ant. &• C, ii. 6. 
 
 The traitor lives, the true mun's put to death [' killed']. — R. II., v. 3. 
 
 Our treasure seiz'd, our soldiers ^uf to flight [' made to fly']. — 3 H. VI., Hi. 3. 
 
 Had hoisted sail, and put to sea [' gone out to sea '] to-day. — Com. of E., v. i. 
 
 1 am put to sea with her, whom here I cannot hold. — W. T.. iv. 3. 
 
 To take his brother here, and put him to the sword ['kill him, murder him']. — 
 As You L., v. 3. 
 
 Peace . . . should not. . . in . . . France, /«< !(^ ['raise again '] her lovely visage ? 
 — H. v., V. 2. 
 
 Had not your man put up [' sent up in flight,' ' started from its cover '] the fowl so 
 suddenly, we had had more sport. — 2 H. VI., ii. i. 
 
 Show thy valour, and put tip [' sheathe '] your sword . . . pry' thee, put up [ ' sheathe 
 thy sword']. — H. V., ii. i. 
 
 Put up [' put in thy pocket '] thy gold. — Timon, iv. 3. 
 
 Why so earnestly seek you to put up [' conceal,' ' hide away '] that letter — Lear, i. 2. 
 
 'Faith, we may put up [' put away in their cases'] our pipes. — R. <&• ^ul., iv. 5. 
 
 Nor am I yet persuaded, to put up [' put up with,' ' brook,' ' endure '] in peace what 
 already I have foolishly suffered. — 0th., iv. 2. 
 
 It is, in contempt of question ['without doubt,' 'indisputably'] her hand. — Tw.N., ii.5. 
 
 As I subscribe not that, nor any other. 
 
 But in the loss of question [' losing sight of the question,' ' merely for the sake of 
 argument'] — that you, his sister. — M.for M., ii. 4. 
 
 This haste was hot in question [' the subject of warm debate '], 
 
 And many limits of the charge set down but yesternight. — i H. IV., i. i. 
 
 'Tis the way to call hers, exquisite, in question more [' to make her beauty the more 
 a subject of admiration.' See " Call in question,'' previously cited]. — R. &• yul., i. 1. 
 
 For those earthly faults, / qiiit them all [' I acquit you of them all ']. — M. for M., v. i. 
 
IDIOMS. 389 
 
 Hortensio will be quit with [' even with '] thee by changing. — T. of S., iii. i. 
 To quit their grief [' to parallel their grief,' ' to render an equivalent for their grief, 
 ' to requite their grief '],. tell thou the lamentable tale of me. — R. 11-, v. i. 
 I think thou art quit for -that ['free of blame on that score']. — 2 H. IV., ii. 4. 
 He that dies this year is quit for [' exempt for,' ' unliable for '] the next. — Ibid., iii. 2. 
 So we were quit here [' safe away from here,' ' free from danger here ']. — H. V., iv. i. 
 To he full quit of ['fully even with,' 'fully revenged upon'] those my banishers, 
 stand I before thee here. — Coriol., iv. 5. 
 
 / am quit [' I am quit of thee,' ' I am rid of thee ']. — Timon, iv. 3. 
 
 Draw; seem to defend yourself; now '^Mz<_)'o«aiieW['acquityourself well']. — Lear,U. i. 
 
 Toole such sorrow, that he quit being [' left life,' ' died 'J. — Cym., i. i- 
 
 Being ignorant to whom it goes, I writ at random [' at hap-hazard,' ' without special 
 direction 'J, very doubtfully. — Two G. of V., ii. i. 
 
 You being then, if you be remembered [' if you remember '], cracking the stones. . . . 
 I telling you then, if you be remembered. — M.for M., ii. i. 
 
 Not so sharp as friend remember' d not [' remembering not ']. — As YouL., ii. 7 (Song). 
 
 Now / am rcmember'd [' I remember '], scorn'd at me. — Ibid., iii. 5. 
 
 If you be remember d [' if you remember '] I did not bid you. — Tam. of S., iv. 3. 
 
 If your majesty is remembered of it [' remember it']. — H. V., iv. 7. 
 
 If I had been remember d [' remembered it,' ' thought of it '] , I could have given my 
 uncle's grace a flout. — R. III., ii. 4. 
 
 / have rcmember'd me [' I have bethought me,' 'now I think of it'], thou shalt hear 
 our counsel. — R. <&■ Jul., i. 3. 
 
 I am now going to resolve him [' assure him '], I had rather my brother die by the 
 law, than my son should. — M.for M., iii. i. 
 
 What, master, read you ? first resolve me that [' solve me that point,' ' settle that 
 question 'J. — Tam. of S., iv. 2. 
 
 May it please your highness to resolve me [' settle the point for me,' ' decide my 
 case 'j now. — 3 H. VI., iii. 2. 
 
 Why, then resolve me [' give me your decision,' ' satisfy me definitely'], whether you 
 will or no. — R. III., iv. 2. 
 
 Resolve thee [' be resolved,' 'be resolute,' 'be decided'], Richard; claim the English' 
 crown. — 3 H. VI., i. i. 
 
 I will resolve you ['give you my decision '] herein presently. — R. III., iv. 2. 
 
 My letter will resolve him of my mind [' inform him of my decision,' ' let him know 
 my resolution ']. — R. III., iv. 5. 
 
 He was a man ; this, in respect [' respectively speaking,' ' comparatively speaking '], 
 a child.— 3 H. VI., v. 5. 
 
 Where many of the best ■ respect [' of the highest respectability '] in Rome. — 
 Jul. C, i. 2. 
 
 Thou art a fellow of a good respect [' of much respectability']. — lUd., v. 5. 
 
 So it be new, there 's no respect [' it is of no consequence,' ' there is no regard or 
 consideration paid to '] how vile. — R. II., ii. i. 
 
 And away with the rest [' the remainder ']. — Temp., iv. i. 
 
 Who are the rest ? [' the others ']. — Love's L. L., ii. i. 
 
 The rest [' the other physicians '] have worn me out. — All's W., i. 2. 
 
 Thanks, sir; all the rest is mute [' for anything beyond " thanks" I am silent']. — 
 Ib'id., ii. 3. 
 
 Were you a woman, as the rest [' the other evidence '] goes even, I should my tears 
 let fall.— Tw. N., v. i. 
 
 The name, and all the additions to a king ; 
 
 The sway, revenue, execution of the rest [' the other offices which remain for a king 
 to perform 'J. — Lear, i. i. 
 
 As I have set up my rest [' made up my mind,' ' determined,' ' resolved '] to run 
 a.vi3.y.—iler. of V., ii. 2. 
 
390 THE SHAKESPEARE KEY. 
 
 Since you set up your rest [' make up your mind,' ' determine '] 'gainst remedy. — 
 All's W., ii. I. 
 
 The County Paris hath set up his rest [' made up his mind,' ' resolved '] that you 
 shall rest but little.— ii. &• Jul., iv. 5. 
 
 Here will I set up my everlasting rest [' finally make up my mind for death ' ; and. 
 with a play upon the phrase, ' remain for ever at peace ']. — Ibid., v. 3. 
 
 He that sets up his rest [' makes up his mind '] to do more exploits with his mace 
 than a morris-pike. — Com. 0/ E., iv. 3. 
 
 I will do as I may; that is mv rest ['the point of my resolve,' 'my determination '], 
 -H. v., ii. I. 
 
 And longing {saving yotir honours reverence ['with respect be it said,' 'begging your 
 honour's pardon for the freedom of saying so']) for stewed prunes, sir. — M.forM.. ii. i. 
 
 Such a one as a m^n may not speak of, without he say, sir-reverence. — Com. of £., iii. 2. 
 
 I think you would have me say, saving your reverence. — M. Ado, iii. 4. 
 
 By the fiend, who, saving your reverence, is the devil himself. . . . 
 
 . . . Hh Tn3.sx.ez anAhe (sciving your worship' s reverence) are ic&Yce. — Mer.ofV.,u.2. 
 
 But that he is {saving your reverence) a whoremaster. — i H. IV., ii. 4. 
 
 Draw thee from the mire of this {save reverence) love. — R. &■ Jul., i. 4. 
 
 The rather {saving reverence of the word) for 'tis said. — Cym., iv. i. 
 
 Madam, be still, — with reverence may I say ; for every word you. — 2 H. VI., iii. 2. 
 
 And care not who they sting in his revenge [' in revenge for him ']. — Ibid., iii. 2. 
 
 On safe-guard ['with a guard to protect him '] he came to me. — Coriol., iii. i. 
 
 Deliver him to safety [' to safe-keeping,' ' into custody '] ; and return. — John, iv. 2. 
 
 Hold him in safety [' in custody'], till the Prince come. — R. &• Jul., v. 3. 
 
 He hath the jewel of my life in hold [' in keeping,' ' in custody 'j. — Tarn, of S., i. 2. 
 
 How sayest thou [' what wilt thou say, when I tell thee '], that my master is become 
 ■a notable lover ?. — Two G: of V., ii. 5. 
 
 My brother Jaques he keeps at school ['at college,' 'an academical student'], and 
 report speaks goldenly. — As You L., i. i. 
 
 In going back to school [' to college,' ' to be a student'] in Wittenberg. — Hamlet, i. 2. 
 
 You will set cock-a-whoop ! [' play the blusterer,' ' be bumptious,' ' be crowing,' ' be 
 hectoring '], you '11 be the man ! — R. &■ Jul., i. 5. 
 
 King Cophetua set eye upon [' saw '] the pernicious. — Love's L. L., iv. i {Letter). 
 
 Now set the teeth [' clench the teeth, in token of firm will '], and stretch. — H. V., iii. i. 
 
 He did so set his teeth, and tear it. — Coriol., i. 3. 
 
 And that would set my teeth nothing on edge [' not give my teeth nearly so much the 
 sensation of grinding each other in desperation at hearing a discordant noise '], nothing 
 so much as. — i H. IV., iii. i. 
 
 Doth set my pugging tooth on edge [' whet my appetite for stealing,' ' sharpen my 
 hunger for theft']. — W. T., iv. 2 (Song). 
 
 'Well, I '11 set you forth [' show you up,' ' describe you finely ']. — Mer. of V., iii. 5. 
 
 Nay, I'll tickle ye ['touch you up,' 'show you up,' ' represent you finely '] for a 
 young prince.^i H. IV., ii. 4. 
 
 We '11 set thee to school [' send thee or put thee to school '] to an ant. — Lear, ii. 4. 
 
 I think you set nothing by [' think nothing of,' ' count as nothing '] a. bloody 
 coxcomb. — Tw. N., v. i. 
 
 Love set on ['placed on thy head'] thy horns. — Merry W., v. 5. 
 
 To-morrow you set on [' set forth,' ' set out on your journey ']. — M. for M., iii. i. 
 
 That that I did, I was set on [' instigated, ' incited,' ' egged on '] to do 't by Sir 
 Toby.— Tw. N., v. i.' 
 
 Now — Esperance! — Percy! — and set on [' make the onslaught']. — i H. IV., v. 2. 
 
 Cassio hath here been set on [' attacked '] in the dark. — 0th., v. i. 
 
 Labeo and Flavins, set our battles on ['lead our battalions .on, forward, to the 
 attack'].— Jul. C, v. 3. 
 
IDIOMS. 391 
 
 Set on your foot [' lead the way,' ' hasten fonvard,' ' put the best foot forwards '] 
 and ... I follow you. — jful. C, ii. i. 
 
 Bid him set on [' set forward,' ' set out with,' ' send onwards '] his powers betimes 
 before, and we will follow. — Ibid., iv. 3. 
 
 So were there a patch set on ['placed on '] learning, to see him. — Love's L. L., iv. 2. 
 Your wrongs io set a scandal on [' put or fix a scandal on '] my sex. — Mid. N. D.,n.2. 
 And set me on the proof [' put me to the proof.] — Timon, ii. 2. 
 No sooner achieved, but we 11 set upon [' attack '] them. — i H. IV., i. ■^. 
 We four set upon [' attacked '] some dozen . . . some six or seven fresh men set 
 upon us. — Ibid., ii. 4. 
 
 You shall enjoy them, everything set off [' set apart,' ' cast out,' ' thrown forth, ^ 
 ' acquitted,' ' excluded,' ' excepted,' or ' counterbalanced,' ' rendered account for, 
 ' yielded retribution for ' ; the speaker purposely using an ambiguous expression in 
 order to delude his hearers] — 2 H. IV., iv. i. 
 
 This present enterprise set off his head [' not reckoned against him,' ' not set down 
 to his account'], I do not think. — i H. IV., v. i. 
 
 That it is place which lessens and sets off [' displays to advantage,' ' gives favourable 
 effect to ']. — Cym., iii. 3. 
 
 He hath a kind of honour sets him off [' adorns him,' ' embellishes him '], more than 
 a mortal seeming. — Ibid., i. 7. 
 
 Put thee into my service for any other reason than to set me off [' show me up,' 
 ' make ray size the more apparent '], why, then, I have no judgment. — 2 H. IV., i. 2. 
 
 ■When they were ready to set out [' depart,' ' set forth '] for London. — H. VIII., ii. 2. 
 
 ■Whom you yourselves shall set out [' set apart,' ' point out'] for reproof. — Timon,v. 5. 
 
 I heard a bird so sing [' it is whispered abroad,' ' it is a current report '], whose music, 
 to my thinking, pleas'd. — 2 H. IV., v. 5. 
 
 / sing but after you [' I speak but in your tune,' ' I do but follow the cue that }0U 
 have given me,' ' I do but accord with your own words, or with what you have yourself 
 said ']. — Ant. &• C, i. 5. 
 
 Come, in what key shall a man take you, to go in the song ? [' to accord with your 
 opinion,' ' to speak in the same tune with you']. — M. Ado, i. i. 
 
 O'er which his melancholy sits on brood ['broods,' 'dwells moodily']. — Hamlet, iii. i. 
 
 E'er since sits on his horseback [' sits on horseback'] at. — John, ii. i. 
 
 Whate'er he be, it skills not much [' it signifies little,' ' it matters not much.' See 
 " Force not," previously cited], we '11 fit him. — Tarn, of S., iii. 2. 
 
 So it skills not much when they are delivered. — Tw. jV., v. i.. 
 
 It skills not greatly who impugns our doom. — 2 H. VI., iii. i. 
 
 Yet 'tis greater skill [' it is more to the purpose,' ' more effectual,' ' of greater force '] 
 in a true hate to pray. — Cym., ii. 5. 
 
 It boots not [' it is of no use,' ' of no avail '] to complain. — R. II., iii. 4. 
 
 It needs not, nor it boots thee not, proud queen. — 3 H. VI., i. 4. 
 
 It boots not to resist both wind and tide. — Ibid., iv. 3. 
 
 He smells April and May [' he smells of spring-time,' ' he has an air of sweetness and 
 floweriness about him ']. — Merry W., iii. 2. 
 
 A beggar, though she smelt brown bread and garlic [' smelt of coarse food,' ' had an 
 unsavoury smell about her']. — M.for M., iii. 2. 
 
 And boys, with women's voices, strive to speak big [' speak loud,' ' speak in a manly 
 tone,' ' speak blusteringly ']. — R. II., iii. 2. 
 
 She has brown hair, and speaks small [' speaks softly'], like a woman. — Merry W., i. i. 
 
 And you may speak as small [' speak as softly '] as you will. — Mid. N. D., i. 2. 
 
 He speaks plain cannon [' speaks like cannonading '] — fire and smoke and bounce. — 
 John, ii. 2. 
 
 I speak to thee plain soldier [' speak to thee as a plain soldier']. — H. V., v. 2. 
 
 Didst speak him fair? ['did you speak to him gently and unreprovingly '] — om. 
 of E., iv. 2. 
 
 Could he not speak them fair [' speak persuasively, unprovokingly '] ? — CorioL, iii. i. 
 
392 THE SHAKESPEARE KEY. 
 
 You speak him far [' speak of him in largely praising terms,' ' with wide latitude of 
 encomium']. — Cym., i. i. 
 
 Is my lord well, that he doth speak so wide ? [' speak so wide of the truth,' ' far from 
 the truth,' and ' so wide of, or far from, delicacy and propriety 'J. — M. Ado, iv. i. 
 
 Speak within door [' speak not so loud as to be heard outside the house,' ' keep your 
 tongue within bounds ']. — Oth., iv. 2. 
 
 He speaks holiday [' speaks finely,' ' in such terms as befit a festival,' ' with more than 
 usual refinement '] .—JW«j'r)' W., iii. 2. 
 
 He speaks nothing but madman ['speaks only mad stuff']. — Tw. N., i. 5. 
 An he do nothing but speak nothing [' talk meaningless rubbish '],he shall be nothing 
 here. — 2 H. IV., ii. 4. 
 
 Gratiano speaks an infinite deal of nothing, more than. — Mer. of V., i. i. 
 Drunk ? and speak parrot ? [' talk without sense, like a parrot ']. — Oth., ii. 3. 
 She speaks poniards [' speaks cuttingly,' ' sharply '] and every word stabs. — M.Ado, ii. i. 
 ■V^'hy, these are very crotchets thai he speaks [whimsical repetitions of the words 
 " note," " notes," and " noting"]. — Ibid., ii. 3. 
 
 To speak puling [' speak in a whining tone '], like a beggar at Hallowmas. — Two G. 
 of v., ii. 1. 
 
 Speak sad brow and true maid [' speak with a serious face and like a truth-telling 
 maiden ']. — As You L., iii. 2. 
 
 Do you speak in the sick tune? [' in the tone of a sick person ']. — M. Ado, iii. 4. 
 He speaks the common tongue [' uses the ordinary language,' ' repeats the general 
 report '], which all men speak with him. — Timon, i. i. 
 
 Speak to the business ['come at once to the matter in hand'], master secretary. — 
 H. VIII., V. 2. 
 
 I stand on fire : come to the matter [' come at once to the point in question ']. — Cym., v. 5. 
 When you speak best unto the purpose [' speak most appositely,' ' most efiiciently '], it 
 is not worth. — CorioU, ii. i. 
 
 For now I speak to some purpose [' speak with a serious meaning ']. — As You L., v. 2. 
 Thou never s/oA'ji to better purpose ['more judiciously,' 'more effectively']. . . . 
 But once before I spoke to the purpose : when ? — W. T., i. 2. 
 
 Lord Angelo is precise ; stands at a guard with envy [' defies envy or detraction ']. — 
 M.for M., i. 4. 
 
 And stand, the buffet [' exchange blows '] with knaves that smell of sweat. — 
 Ant. &• C, i. 4. 
 
 I stand wholly for you [' I am entirely in your favour ']. — Merry W., iii. 2. 
 Thou that stand'st so for ['art so stanch a partisan for'] Posthumus. — Cym., iii. 5. 
 ■When he did stand for ['was candidate for the office of] consul. — CorioL, v. 5. 
 When Marcius stood for [' was a partisan for '] Rome. — Ibid., iv. 6. 
 Stand good father to me [' be a kind father to me,' ' be favourable to me and to my 
 suit ']. — Tarn of S., iv. 4. 
 Stand my good lord [' befriend me,' ' be propitious to me']. — 2 H. IV., iv. 3. 
 Good master corporate Bardolph, stand my friend. — Ibid., iii. 2. 
 Standing your friendly lord [' being your befriending advocate']. — CorioL, ii. 3. 
 And make him good friend [' befriending advocate '] to the people. — Ibid., ii. 3. 
 We '11 be thy good masters [' befriending patrons,' ' benefactors ']. — W. T., v. 2. 
 I would hs good to thee [' befriend thee']. — Timon, i. 2. 
 
 She 's my good lady [' she is my good friend,' ' she befriends me ' : employed 
 ironically in this passage]. — Cym., ii. 3. 
 He is my good lord [' he is my patron,' ' my benefactor ']. — All's W., ii. 3. 
 My hopes, not surfeited to death, stand in bold cure [' remain in confident expecta- 
 tion of being fulfilled ']. — Oth., ii. i. 
 This rest might yet have balm'd thy broken senses. 
 Which, if convenience will not allow. 
 Stand in hard cure [' risk remaining unhealed ']. — Lear, iii, 6. 
 
IDIOMS. 393 
 
 His life, with thine .... sta7id in assured loss ['are exposed to sure peril']. — 
 Lear, iii. 6. 
 
 Wherefore should I stand in the plague of custom ■[' remain, like a plague-smitten 
 creature, set apart by custom ']. — Ibid., ii. 2. 
 
 Stands in attainder of [' remains convicted of,' ' remains disgraced with '] eternal 
 shame. — Love's L. L., i. i. 
 
 My life stands in the level [' lies at the mercy '] of your dreams, which I '11 lay down. 
 —W. T., iii. 2. 
 
 The help of one stands me in little stead [' is of small use to me ']. — i H. VI., iv. 6. 
 
 You stand viithin his danger [' are in his power as his debtor,' ' are liable to his 
 exaction of payment on infliction of penalty, and are in danger of his vindictive 
 measures'], do you not ? — Mer. of V., iv. i. 
 
 Nor stands it safe [' is it safe '] with us, to let. — Hamlet, iii. 3. 
 
 Stand no more off [' repel me no longer,' ' remain no longer aloof]. 
 
 But give thyself unto my sick desires. — All's W., iv. 2. 
 
 Though the truth of it stands off [' stands out,' ' shows forth prominently and distinc- 
 tively'] as gross as black from white. — H. V., ii. 2. 
 
 Your skill shall, like a star i' the darkest night. 
 
 Stick fiery off indeed. — Hamlet, v. 2. 
 
 This comes offweW and excellent. — Timon, i. i. 
 
 In these times you stand on [' attach much importance to '] distance, your passes, 
 stoccadoes, and I know not what. — Merry W ., ii. i. 
 
 The good I stand on [' rely upon'] is my truth and honesty. — H. VIII., v. i. 
 
 To stand on [' wait for,' ' dally with,' ' insist on using '] more mechanic compliment. 
 — Ant. &• C, iv. 4. 
 
 Who stand so much on [' attach so much importance to,' ' stickle so much for ' ; and, 
 punningly, ' stand up on '] the new form, that they cannot sit at ease on the old bench. 
 —R. &■ Jul., ii. 4. 
 
 Why, brother, wherefore stand you on [' lose time insisting upon '] nice points ? — 
 3 H. VI., iv. 7. 
 
 And do not stand on quillets how to slay him. — 2 H. IV., iii. i. 
 
 That stands on tricks whem I am undisposed. — Com. of E., i. 2. 
 
 If that thy valour stand on [' is punctilious on the score of '] sympathy, there is my 
 gage. — R. II.. iv. i. 
 
 / stand on [' it behoves me to use'] sudden haste. — R. &• Jul., ii. 3. 
 
 And then stand upon [' insist upon '] security ! . . . then they must stand upon 
 security. — 2 H. IV., i. 2. 
 
 What conditions we shall stand upon ? [' insist upon ']. — Ibid., iv. i. 
 
 'Tis but the time, and drawing days out, that men stand tipon [' are anxious for,' 
 'attach importance to']. — Jul. C, iii. i. 
 
 The sore terms we stand upon [' are on,' ' exist on '] with the gods. — Per., iv. 3. 
 
 You stand upon [' are punctilious about '] your honour ! — Merry W., ii. 2. 
 
 And stands upon [' prides himself upon '] the honour of his birth. — i H. VI., ii. 4. 
 
 We stand upon our manners [' we are on our good behaviour,' ' we are anxious to 
 show that we know how to behave ']. — W. T., iv. 3. 
 
 Stand not upon [' be not punctilious as to '] the order of your going, but go at once. — 
 Macb., iii. 4. 
 
 And stand upon [' insist upon having '] my common part.— ConoZ., i. 9. 
 
 Do not stand upon 't [' insist upon the point ']. — Ibid., ii. 3. 
 
 This fellow doth not stand upon [' is not particular about '] points. — Mid. N. D., v. i. 
 
 Consider how it stands upon [' affects,' ' concerns '] my credit. — Com. of E., iv. i. 
 
 Does it not, think'st thee, stand me now upon [' now behove me '] . . . 
 
 To quit him with this arm ? — Hamlet, v. 2. 
 
 Because that now it lies you on [' it behoves you,' ' it is incumbent on you '] to speak 
 to the people. — Coriol., iii. z. 
 
394 THE SHAKESPEARE KEY. 
 
 For my state stands on me [' makes it incumbent on me,' ' requires me '] to defend, 
 not to debate. — Lear, v. i. 
 
 It stands your grace upon [' behoves your grace '] to do him right. — R. II., ii. 3. 
 
 For it stands me much upon [' it is very important to me,' ' it concerns me nearly '] to 
 stop all hopes. — R. III., iv. 2. 
 
 It only stands our lives upon [' behoves us as we value our lives,' ' is needful for 
 ihe sake of our lives '] to use our strongest hands. — Ant. &• C, ii. i. 
 
 When articles, too nicely urg'd, be stood on [' insisted on ']. — H. V., v. 2. 
 
 I never stood on [' attached much importance to 'J ceremonies, yet now they fright 
 me. — yul. C, ii. 2. 
 
 For once we stood up [' made a stand,' ' contended,' ' asserted our rights,' ' showed 
 fight'] about the corn. — Coriol., ii. 3. 
 
 Or else it stood upon [' depended upon '] the choice of friends. — Mid. N. D., i. i. 
 
 You that stood so much upon [' insisted so much upon,' ' contended so much for '] the 
 voice of occupation. — Coriol., iv. 6. 
 
 Now for the rebels, which stand out [' continue in contumacy '] in Ireland — 
 R. II., i. 4. 
 
 You have of late stood out [' maintained opposition '] against your brother. — 
 M. Ado, i. 3. 
 
 Most of our city did : only myself stood out [' refused concession ']. — Tw. N., iii. 3. 
 
 That so stood out [' remained refractory '] against the holy church. — John, v. 2. 
 
 Makes him stand to [' remain iirm to his purpose,' ' stick to his intention '], and not 
 stand to. — Macb., ii. 3. 
 
 'Tis he. — Stand to 'f [' abide by your purpose ']. — Ibid., iii. 3. 
 
 Now, I '11 stand to it [' maintain '], the pancakes were naught. — As You L., i. 2. 
 
 An thy mind stand to't \' keep steady,' ' adhere,' ' remain in the same mood '], boy, 
 ■ steal away bravely. — All's W., ii. i. 
 
 And yet you will stand to it | ' stick to the same story,' ' maintain it to be truth '1 ; 
 you will not pocket up wrong. — i H. IV., iii. 3. 
 
 Is 't a lusty yeoman ? will he stand to 't ? [' remain firm to his duty,' ' fulfil his 
 office'].— 2 H./l/.,ii. I. 
 
 I beseech you, stand to me [' stand my friend,' ' befriend me ']. — Ibid., ii. i. 
 
 I '11 back with you ; and pray you, stand to me [' remain constant to me '] in this 
 cause. — Coriol., v. 3. 
 
 Or let us stand to [' abide by,' ' preserve '] our authority, or let us lose it. — Ibid., iii. i. 
 
 And call them pillars that will stand to [' abide by,' ' remain firm to '1 us. — 
 lH.VI.,n.i. 
 
 Will speak more in a minute, than he will stand to [' stick 10,' ' be true to,' ' fulfil,' 
 ' make good '] in a month. — ii. &• Jul., ii. 4. 
 
 To this point I stand [' I stick to this point,' ' I remain firm on this point ']. — 
 Hamlet, iv. 5. 
 
 Sir John stands to [' keeps,' ' abides by '] his word.— i H. IV., i. 2. 
 
 You speak not like yourself; who ever yet have stood to [' adhered to,' 'held by,' 
 ' upheld '] charity. — H. VIII., ii. 4. 
 
 We stood to 't [' remained firm '] in good time. — Coriol., iv. 6. 
 I pray thee, if it stand with [' accord with,' ' be consistent with '] honesty, 
 Buy thou the cottage, pasture, and the flock. — As You L., ii. 4. 
 For I stay dinner [' remain to dine'] there. — R. III., iii. 2. 
 Tarry for the mourners, and stay dinner. — R. S-jfuL, iv. 5. 
 
 The messengers of "Venice stay the meat [' await the meal,' ' are waiting for the 
 repast ']. — 0th., iv. 2. 
 Our throats are sentenced, and stay upon ['wait but for'] execution. — Coriol., v. 4. 
 Worthy Macbeth, we stay upon your leisure.— A/ncA., i. 3. 
 
 Be the players ready ? — Ay, my lord ; they stay upon your patience [' await your 
 pleasure']. — Hamlet, iii. 2. 
 
IDIOMS. 395 
 
 He stays upon your will [' awaits your willingness to see him ']. — Ant. &• C, i. z. 
 
 This creature 's no suck thing [' no such great things,' ■ no such wonderful beauty ']. 
 — Ibid., iii. 3. 
 
 With devotion's visage, and pious action, we do sugar o'er (' sweeten,' ' give a sweet 
 appearance to 'J the devil himself. — Hamlet, iii. i. 
 
 And I am sun-burned, ['unattractive,' 'plain-looking,' 'not fair,' 'unlovely']. — 
 M. Ado, ii. I. 
 
 The Grecian dames are sun-burned, and not worth the. — Tr. &• Cr., i. 3. 
 
 Whose face is not worth sun-burning ['cannot be made plainer than it is naturally']. 
 —H. v., v. 2. 
 
 That am with Phoebus' amorous pinches black [' sun-burned,' ' dark-complexioned,' 
 implying ' not fair,' ' not lovely ']. — Ant. &• C, i. 5. 
 
 There did this perjur'd goldsmith swear me down [' browbeat me, by falsely swear- 
 ing '] that I this day of him receiv'd. — Com. of E., v. i. 
 
 Lest the device take air [' get wind,' ' become breathed about,' ' become generally 
 known'; and, punningly and figuratively, 'be exposed to the air 'J, and taint. — 
 Tw. N., iii. 4. 
 
 Be brisk awhile, and the longer liver take all [' be the winner,' ' have the best of it ]. 
 —R. &■ Jul., i. 5. 
 
 And bids what will take all. — Lear, iii. i. 
 
 My lord, you take us even at the best [' make the best of us,' ' accept us in the most 
 favourable manner ']. — Timon, i. 2. 
 
 Tell him Timon speaks it . and let him take 't at worst [' take it offensivjiy,' 
 ' take affront at it ']. — Ibid., v. 2. 
 
 I think affliction may subdue the cheek. 
 
 But not take in [' subdue,' ' overcome '] the mind. — W. T., iv. 3. 
 
 Take in [' conquer,' ' defeat,' ' vanquish '] that kingdom, and enfranchise that — 
 Ant. &• C, i. I. 
 
 When he hath mus'd of taking kingdoms in [' conquering']. — Ibid., iii. 11. 
 
 Take in [' reef,' ' contract,' ' reduce,' ' lessen '] the top-sail — Temp., i. i. 
 
 And swore, with his own single hand he 'd take us in [' capture us,' ' defeat us.' See 
 " Fetch us in," previously cited]. — Cym., iv. 2. 
 
 Though I take thee in [' encounter thee in '] the king's company. — H. V., iv. i. 
 
 I will take thee a box on the ear [' give thee a box on the ear 'J. — Ibid., iv. I. 
 
 I have sworn to take him a box 0' the ear. — Ibid., iv. 7. 
 
 Take him on the costard [' strike him on the head '].—/?. III., i. 4. 
 
 For Heaven's sake, take a house ['take refuge in some holy house,' ' take sanctuary '] . 
 — Com. of E., V. I. 
 
 And your brother York, have taken sanctuary [' taken refuge under a consecrated 
 roof '].— i?. ///., iii. i. 
 
 Cudgel you, and make you take the hatch [' leap over the half-door,' ' escape 
 hastily']. — John, v. i. 
 
 Come, Warwick, take the time [' take the opportunity ']. — 3 H. VI., v. i. 
 
 Every fairy take his gait [' take his way ']. — Mid. N. D., v. 2. 
 
 Let him take his haste* [' make haste,' ' hasten.' See " Put it to the haste,'' 
 previously cited], come hither. — Timon, v. 2. 
 
 Make your soonest haste [' hasten,' ' use despatch ']. — Ant. &• C, iii. 4. 
 
 What a taking was he in [' a fright, iJurry, fluster, or pucker, he was in '] when your 
 husband asked what was in the basket. — Merry W., iii. 3. 
 
 * The word " haste " has been suspected of error in this passage, and has been altered 
 by some emendators; but the other instances here cited of similar idioms used by 
 Shakespeare serve to show that it is his expression ; and. moreover, the parallel passage 
 in North's Plutarch, whence Shakespeare evidently derived the groundwork for this 
 play, aids in proving that " haste " is right. 
 
396 THE SHAKESPEARE KEY. 
 
 You 'II mar the light by taking it in snuff [' taking it in anger,' ' taking offence at it ']. 
 — Love's L. L., v. 2. 
 
 Who therewith angry, when it next came there, took it in snuff. — i H. IV., i. 3. 
 
 Marina's life seeks to take off [■ destroy.' See " Fetch off," previously cited] by 
 treason's knife. — Per., iv. (Gower). 
 
 The deep damnation of his iaA(Wo--q^ [' destruction,' 'murder,' 'assassination']. — 
 Macb., i. 7. 
 
 Let her, who would be rid of him, devise his speedy taking-off. — Lear, v. i. 
 
 Seem to break loose ; take on [' make pretence '], as you would follow ; but yet come 
 not. — Mid. N. D., iii. 2. 
 
 It is my father's will, I should take on me [' assume,' ' undertake '] the hostess-ship 
 o'the day.— ly. T., iv. 3. 
 
 'Twere no good part, to take on me to keep and kill thy heart. — R. II., v. i. 
 
 He takes on him to understand so much. — Tw. .V., i. 5. 
 
 If you will take it on you to assist him. it shall redeem. — M.for M., iv. 2. 
 
 'Tis like you '11 prove a jolly surly groom, 
 
 That take it on you ['behave yourself, • conduct yourself] at the first so roundly. — 
 Tarn, of S., iii. 2. 
 
 You must take Thisby on you ['undertake to play the part of Thisbe']. — 
 Mid. N. D., i. 2. 
 
 One that takes upon him ['undertakes '] to be a dog indeed . to take a fault upon 
 me [' be answerable for a fault,' ' acknowledge having committed a fault'] that he did. 
 — Two G. of v., iv. 4. 
 
 If this young gentleman have done offence, I take the fault on me. — Tw. N., iii. 4. 
 
 She takes upon her [' behaves herself,' ' bears herself] bravely at first dash. — 
 I H. VI., i. 2. 
 
 You must either be directed by some that take upon them [' undertake '] to know ; or 
 take upon yourself [' undertake to comprehend '] that, which I am sure you do not 
 know. — Cym., v. 4. 
 
 And take upon command [' take at your own disposal,' ' take according to your own 
 pleasure '] what help we have. — As You L., ii. 7. 
 
 She does so take on with [' chide,' ' scold,' ' rate at '] her men. — Merry W., iii. 5. 
 
 He so takes on [' angrily complains '] yonder with my husband. — Ibid., iv. 2. 
 
 How will my mother, for a father's death, take on with [' lamentingly rave at '] me, 
 and ne'er be satisfied. — 3 H. VI., ii. 5. 
 
 Do : I '11 take the sacrament on 't [' take the sacrament as witness to my oath with 
 regard to the truth of it']. — All's W., iv. 3. 
 
 You shall not only take the sacrament to bury mine intents. — R. II., iv. i. 
 
 Takes on the point of honour [' pledges his honour, ' takes the onus or responsibility 
 upon his own honour '] to support so dissolute a crew. — Ibid., v. 3. 
 
 They take it already upon their salvation [' already pledge their salvation '] that 
 though I be but Prince of 'Wales. — i H. IV., ii. 4. 
 
 For, take 't of my soul [' I '11 pledge my soul upon it,' or ' I speak it from my soul '], 
 my lord leans wondrously to discontent. — Timon, iii. 4. 
 
 I '11 take it upon my death [' take the risk of death as witness to my oath '], I gave 
 him this wound in the thigh. — i H. IV., v. 4. 
 
 I will take my death, I never meant him any ill. — 2 H. VI., ii. 3. 
 
 And took it on his death, that this, my mother's son. — yohn, i. i. 
 
 I took 't upon mine honour thou hadst it not. — Merry W., ii. 2. 
 
 Therefore this order hath Baptista ta'en [' Baptista has taken these measures,' 
 ' Baptista has provided '] that none. — Tarn, of S., i. 2. 
 
 There is order ta'en for you [' there have been measures taken for your disposal,' 
 ' there has been provision made for you ']. — R. II., v. i. 
 
 Honest lago hath ta'en order for 't [' taken means to effect it,' ' made provision to 
 secure its being done ']. — 0th., v. 2. 
 
IDIOMS. 397 
 
 If your worship will take order [' take remedial measures '] for the drabs and the 
 knaves. — M.for M., ii. i. 
 
 Whilst to take order for the wrongs I went. — Com. of E., v. i. 
 
 I '11 order take [' take secure measures '] my mother shall not hear. — All's W., iv. 2. 
 
 And I will take such order [' take such measures '], that thy friends shall ring for 
 thee.— 2 H. IV., iii. 2. 
 
 Whilst I take order [' take due measures '] for mine own affairs. — 2 H. VI., iii. i. 
 
 I will take order [' provide,' ' arrange '] for her keeping close. — R. III., iv. 2. 
 
 Some one take order Buckingham be brought to Salisbury. — Ibid., iv. 4. 
 
 I were unmannerly, to take you out [' select you as my partner in the dance and lead 
 you forth to dance '], and not to kiss you. — H. VIII., i. 4. 
 
 I '11 have the work ta'en out [' copied '], and give 't lago. — 0th., iii. 3. 
 
 Sweet Bianca, take me this work out [' copy this work for me ']....! like the work 
 well : ere it be demanded (as like enough it will), I 'd have it copied. — Ibid., iii. 4. 
 
 I must take out [' copy '] the work ! . . This is some minx's token, and I must 
 take out the work ! ... I '11 take out no work on 't. — Ibid., iv. i. 
 
 Take your patience to you ['summon your patience to your aid'], and I'll say 
 nothing. — W. T., iii. 2. 
 
 You must take your patience to you. — H. VIII., v. i. 
 
 I pray you, sir, take patience : I have hope. — Lear, ii. 4. 
 
 And never cried, "Have patience, good people ! "—.<4j You L., iii. 2. 
 
 Pray you, use your patience : in good time. — Merry W., iii. i. 
 
 By your patience [' by your leave '], no. — Tw. N., ii. i. 
 
 Pray you, be ever known to patience ['still preserve your patience']. — Ant. &• C. iii. 6. 
 
 There cannot be those numberless offences 'gainst me, that I cannot take peace aith 
 [' take peacefully,' ' take with resignation and forgiveness ']. — H. VIII., ii. i. 
 
 With my vex'd spirits I cannot take a truce [' pacify,' ' reduce to order or quietude '] . 
 — John, iii. i. 
 
 Could not take truce with [' pacify '] the unruly spleen of Tybalt. — R. &• Jul., iii. i. 
 
 The seas and winds (old wranglers) took a truce [' made temporary peace '] , and did 
 him service. — Tr. &• Cr., ii. 2. 
 
 Your majesty takes no scorn [' does not scorn '] to wear the leek upon Saint Tavy s 
 day. — H. V., iv. 7. 
 
 And take foul scorn [' think it foul scorn '] to fawn on him. — i H. VI., iv. 4. 
 
 Be not ta'en tardy [' caught loitering,' ' captured when too late for escape '] by unwise 
 delay.— i?. ///., iv. i. 
 
 If he love Caesar, all that he can do 
 
 Is to himself — take thought ['become pensive,' 'turn melancholy'], and die for 
 Caesar. — ful. C, ii. i. 
 
 But we '11 take to-morrow [' use to-morrow,' ' employ or appropriate to-morrow ']. — 
 Macb., iii. i. 
 
 And how was that ta'en up ? [' made up,' ' settled,' ' accommodated']. — As You L., v. 4. 
 
 I knew when seven justices could not take up [' settle '] a quarrel. — Ibid., v. 4. 
 
 I have his horse to take up the quarrel. — Tw. N., iii. 4. 
 
 Good Brabantio take up [' accept reconciledly,' ' receive as settled '] this mangled 
 matter at the best. — 0th., i. 3. 
 
 I will take up [' cap,' ' put a crowning to '] that with. — H. V., iii. 7. 
 
 I will cap [' take up,' 'put a climax to'], that proverb with, there is flattery in friend- 
 ship. — Ibid., iii. 7. 
 
 Perforce, a third must take up [' take in hand,' ' cope with '] us. — 2 H. IV., i. 3. 
 
 I could myseK take up a brace of the best of them. — CorioL, iii. i. 
 
 Being you are to take soldiers up [' enlist,' ' raise,' ' levy'] in counties as you go.^ 
 2 H. IV., ii. I. 
 
 You have taken up ['raised,' 'levied'], under the counterfeited zeal of God. the 
 subjects of his substitute, my father, — Ibid., iv. 2. 
 
39S THE SHAKESPEARE KEY. 
 
 Good my sovereign, take up [' check,' ' rebuke '] the English short. — H. V., ii. 4. 
 
 I was taken up [' chidden,' ' snubbed '] for laying them down. — Tmo G. of V., i. 2. 
 
 Yet art thou good for nothing but taking up [' twitting,' ' taunting '■] ; and that 
 thou -rt scarce worth. — All's W., ii. 3. 
 
 And take up f obtain on credit ' ; and, punningly, ' pick up '] commodities upon our 
 bills ?— 2 H. VI., iv. 7. 
 
 We are like to prove a goodly commoditv, being taken up [' obtained on credit ; 
 and, punningly, ' arrested,' 'apprehended'] of these men's bills. — M. Ado, iii. 3. 
 
 If a man is thorough with them in honest taking up [' obtaining goods on credit ' 
 then they must stand upon security. — 2 H. IV., i. 2. 
 
 Can with his very bulk take up [' absorb,' ' impede,' ' intercept '] the rays o' the 
 beneficial sun. — H. VIII., i. i. 
 
 And schoolboys' tears take up [' impede,' ' blear '] the glasses of my sight 1 — 
 Coriol., iii. 2. 
 
 How it rages, how it takes up [' swallows up,' ' submerges '] the shore ! — W. T., iii. 3. 
 
 They three were taken up [' saved from the water,' ' rescued '] by fishermen of 
 Corinth. — Com. of E., i. i. 
 
 I would your grace would take me with you [' let me understand you,' ' suffer my 
 comprehension to accompany your meaning']. — i H. IV., ii. 4. 
 
 Soft! take me with you, take me with you, wife. — R. &• jfiiL, iii. 5. 
 
 Whatsoe'er he is, he 's bravely taken here [' received as a brave man here,' ' admitted 
 here to be a brave man ']. — All's W., iii. 5. 
 
 Nay, task me to my word [' put my word to the test ']. — i H. IV., iv. i. 
 
 Else I should tell him well* [' tell him flatly,' ' tell him plainly,' ' rate him well.' 
 'call him to account,' 'tell him his own,' 'tell him a piece of my mind'], i 'faith. I 
 should. — Timon, i. 2. 
 
 Why, then I'll tell her plain, she sings as sweetly. — Tam. of S., ii. 1. 
 
 I was about to speak, and tell him plainly, the self-same sun. — W. T., iv. 3. 
 
 I mind to tell him plainly what I think. — 3 H. VI.. iv. i. 
 
 And tell me flatly I am no proud Jack. — i H. IV., ii. 4. 
 
 He tells me flatly, there is no mercy for me in Heaven. — Mer. of V., iii. 5. 
 
 If I find a hole in his coat, I will tell him my mind. — H. V.. iii. 6. 
 
 And yet. in some respects, I grant I cannot go, — I cannot tell [' I cannot say,' ' I 
 cannot tell what to make of it ' ; and, punningly, ' I cannot pass current,' ' I cannot 
 reckon as good money 'J. — 2 H. IV., i. 2. 
 
 I cannot tell: [' I know not what to think of it,' ' I cannot say how it may be '] the 
 world is grown so bad.— J?. ///., i. 3. 
 
 Whose life 's as tender to me [' as precious to me '] as my soul. — Two G. of V., v. 4. 
 
 And show'd thou mak'st some tender of my life [' hast some loving regard for my 
 life '], in this fair rescue thou hast brought. — i H. IV., v. 4. 
 
 By my life, I do; which I tender dearly ['prize highly'], though I say I am a 
 magician. — As You L., v. 2. 
 
 If any friend will pay the sum for him. 
 
 He shall not die, 50 much we tender him [' so highly do we value him']. — Com. ofE.,v. i. 
 
 I tender so ['am so affectionately anxious for'] the safety of my liege. — 2 H. VI., iii. i. 
 
 And so betide to me, as well I tender you [' as carefully I endeavour to preserve 
 you,' and ' as faithfully I am attached to you 'J, and all of yours I — R. III., ii. 4. 
 
 If . I tender not [' do not tenderly love '] thy beauteous princely daughter ! — 
 Ibid., iv. 4. 
 
 You tender more [' have more regard for '] your person's honour than your high 
 profession spiritual. — H. VIII., ii. 4. 
 
 • Following the punctuation of the First Folio (altered by some emendators), we 
 believe this phrase to be meant by Shakespeare as a similar idiom to those of which we 
 give the six following examples, — " tell her plain," &c. 
 
IDIOMS. 399 
 
 Tender yourself more dearly [' pay more regard to what is due to yourself], or, . 
 you '11 tender me a fool [' show me how you befool yourself with this tenderness ']. — • 
 Hamlet, i. 3. 
 
 For thine especial safety, which we do tender ['we are as affectionately anxious 
 for '], as we dearly grieve fo'r that. — Ibid., iv. 3. 
 
 Ay, are you thereabouts? [' is that your way of thinking,' 'is that your opinion']. 
 Why, then, good night, indeed. — Ant. &• C, iii. 8. 
 
 Do you know, and dare not be intelligent to me ? 'Tis thereabouts [' that is about 
 the truth of it ']. — W. T., i. 2. 
 
 How a score of ewes now ? — Thereafter as they be [' that 's according to what they 
 may turn out to be in goodness']. — 2 H. IV., iii. 2. 
 
 O. ho. are you there with me ? [' are you on the tack of trying to delude me,' ' are 
 you trying to catch me with that plea']. — Lear, iv. 6. 
 
 They 're here with me [' they are detecting me,' ' they are pointing me out as a deceived 
 husband '] already [See Indications of Conduct and Gesture, &c.]. — W. T., i. 2. 
 
 I know Anne's mind ; that 's neither here nor there [' no matter for that,' ' let that 
 pass.' ' that is nothing to the purpose,' ' that is of no consequence.' See " That 's all 
 one '' previously cited]. — Merry W., i. 4. 
 
 Doth that bode weeping ? — 'Tis neither here nor there [' it signifies nothing particular, 
 any way ']. — 0th., iv. 3. 
 
 The one as long as th' other: 'tis pity of him [' 'tis to be regretted for him ']. — Ibid., ii. 3. 
 
 'Tis pit V of him. — Let his shames quickly drive. — Ant. &• C, i. 4. 
 
 Good faith, it is such another ['she is such a whimsical'] Nan; but, I detest, an 
 honest maid. — Merry W ., i. 4. 
 
 'Tis such another fitchew! marry, a perfumed one. — 0th., iv. i. 
 
 Welcome ; fall to [' begin eating ']. — As You L., ii. 7. • 
 
 Well said, Hal ! to U [' go at it,' ' fight away '], Hal !— i H. IV., v. 4. 
 
 And to 'i they go [' they begin fighting'] like lightning. — R. &• Jul., iii. i. 
 
 To 't [' begin guessing '] again, come . . Marry, now I can tell. — To 't. — Mass, I 
 cannot tell. — Hamlet, v. i. 
 
 The clown shall make those laugh who?e lungs are tickled 0' the sere [there was an 
 old idiom thus worded which signified ' easily excited to mirth,' and the present passage 
 mav be taken in this sense ; otherwise, the entire phrase seems to us to mean ' shall 
 make even those laugh whose lungs are troubled with dryness''\. — Ib'id., ii. 2. 
 
 Come what come may, time and the hour [' the epoch destined to witness a special 
 event.' Sec Pleonasms] runs through the roughest day. — Macb., i. 3. 
 
 And I. to blame [' very blameably,' ' deserving blame '], have held him here too long. 
 — Com. of E., iv. I. 
 
 Mv thanks are too dear a halfpenny [' too dear a halfpenny-worth,' ' too dear by a 
 halfpenny,' ' too dear at a halfpenny ']. — Hamlet, ii. 2. 
 
 He held them sixpence all too dear [' too dear at sixpence ']. — 0th,, ii. 3 (Song). 
 
 There is. sir, an aiery of children, little eyases, that cry out on the top of question 
 [' challenge applause beyond appeal' ; and, punningly, ' pipe out their parts at the top 
 of their shrill infantine voices '] and are most. — Hamlet, ii. 2. 
 
 As I received it, and others, whose judgments in such matters cried in the top of mine 
 ['were of higher authority than mine,' 'were more beyond appeal than mine']. — 
 Ib'id., ii. 2. 
 
 If He, which is the top of judgment [' the supreme in judgment'], should but judge 
 you as you are. — M.for M., ii. 2. 
 
 Admir'd Miranda ! Indeed, the top of admiration [' the supreme point of admiration,' 
 ' the crowning height of admiration ']. — Temp., iii. i. 
 
 To amplify too much, would make much more, and top extremity [' surpass the 
 extreme of sorrow ']. — Lear, v. 3. 
 
 So far he topp'd my thought ['surpassed my imagination '] , that I, in forgery of 
 shapes and tricks, came short of what he did. — Hamlet, iv. 7. 
 
400 THE SHAKESPEARE KEY. 
 
 But like to groves, being topp'd [' being pruned,' ' cut,' ' lopped'], they higher rise. — 
 Per., i. 4. 
 
 And topping all others [' surpassing every one else '] in boasting. — Coriol., ii. i. 
 
 Which to do, trebles thee o'er ['will make thee thrice as great as thou wert before']. 
 — Temp., ii. i. 
 
 Hast thou, spirit, performed to point [' punctiliously,' ' exactly '] the tempest that I 
 bade thee ? — Ibid., i. 2. 
 
 On a trice [' in a trice,' ' in the third of a moment,' ' ere one could count three '], so 
 please you, even in a dream, were we divided from them. — Ibid., v. i. 
 
 It sums up thousands in a trice. — Cym., v. 4. 
 
 Where we, in all her trim ['in trimmest condition,' 'in readiest order for sailing], 
 freshly beheld our royal, good, and gallant ship. — Temp., v. i. 
 
 The ship is in her trim ; the merry wind blows fair. — Com. of E., iv. i. 
 
 But, by the mass, our hearts are in the trim [' in the right cue or mood,' ' in a state of 
 alert readiness']. — H. V., iv. 3. 
 
 They come like sacrifices in their trim [' thus preparedly decked up '] , and to the 
 fire-ey'd maid of smoky war. — i H. IV.. '.v, i. 
 
 O, this is' trim [' this is nice,' ' agreeable,' ' pleasant']. — Tr. & Cr., iv. 5. 
 
 Thus has he . . . only got the tune of the time ['the prevailing key-note of fashionable 
 jargon '], and outward habit. — Hamlet, v. 2. 
 
 If it be aught to the old tune [' to the same purpose as of old or formerly '], my lord, 
 it is as fat and fulsome. — Tw. N., v. i. 
 
 Went it not so ? — To the self-same tune and words [' to that identical purport and 
 announcement']. — Macb., i. 3. 
 
 This tune [' this tone of thinking and speaking '] goes manly. — Ibid., iv. 3. 
 
 He is not in this tune [' in this mood '], is he ? — Tr. &• Cr., iii. 3. 
 
 Who sometime, in his better tune [' in his saner mood,' ' in his more harmonious 
 frame of mind '], remembers what we. — Lear, iv. 3. 
 
 My advocation is not now in tune [' not now in accordance with his mood']. — 0th. .Wi. a. 
 
 And let him ply his mttsic [' go on to what tune he pleases,' ' conduct himself in any 
 style and at any rate he chooses ']. — Hamlet, ii. i. 
 
 Gentle my lord, turn back [' return and hear me ']. — M.for M., ii. 2. 
 
 Turn thee back ['return '], and tell thy king. — H. V., iii. 6. 
 
 We turn not back [' do not return '] the silks upon the merchant. — Tr. &• Cr., ii. 2. 
 
 Turn back ['return '], dull earth, and find thy centre out. — R. &• jful., ii. i. 
 
 Cassius or Csesar never shall turn back * [' return '], 
 
 For I will slay myself. — jful. C, iii. i. 
 
 If he be chaste, the flame will back descend. 
 
 And turn him to [' occasion him,' ' give him '] no pain. — Merry W., v. 5. 
 
 The which shall turn you to [' occasion you '] no farther harm than so much loss of 
 time. — Coriol., iii. i. 
 
 Oh, my heart bleeds to think o' the teen that I have turn'd you to [' occasioned you,' 
 ' caused you']. — Temp., i. 2. 
 
 And all the trouble thou hast turn'd me to [' caused me,' ' given me '] . — 3 H. VI., v. 5 . 
 
 A slave that still an end turns me to [' causes me,' 'brings me'] shame. — Tu-o G. 
 of v., iv. 4. 
 
 If the rest of my fortunes turn Turk [' experience a sudden reverse,' ' become 
 adverse '] with me. — Hamlet, iii. 2. 
 
 Well, an you be not turned Turk [' become a thorough apostate to your creed that 
 no man is worthy of being your husband,' 'changed your mind entirely']. — 
 M. Ado, iii. 4. 
 
 * Malone and others alter " or " to ' on ' in this passage, affirming that " turn back " 
 cannot be taken in the sense of ' return ; ' but we think that the four preceding 
 instances we have cited, serve to show that Shakespeare does occasionally use the 
 expression " turn back" to signify 'return.' 
 
IDIOMS. 401 
 
 Not so. sir; under correction ['by your leave,' 'with your permission be it spoken,' 
 ' subject to your setting to rights, if I am wrong'], sir, I hope, it is not so . . under 
 correction, sir, we know. — Love's L. L., v. 2. 
 
 Under your good correction, I have seen, when, after execution. — M.for M., u. 2. 
 
 Look you, under your correction, there is not many. — H. V., iii. 2. 
 
 Under the correction ['while I disclaim, or deprecate the imputation'] of bragging, be 
 it spoken, I should quickly. — Ibid., v. 2. 
 
 What we will do, we do upon command [' nndei orders,' ' by authority given'].— 
 R. III., i. 4. [See " Take upon command," previously cited.] 
 
 Let your highness command upon me [' command me,' ' lay commands upon me j ; 
 to the which my duties. — Macb., iii. i. 
 
 By his great authority ; 
 
 Which often hath no less prevail'd than so. 
 
 On your command [' by your own orders ']. — W. T., ii. i. 
 
 Have vou nothing said upon his party [' on his side,' ' on his behalf,' ' as a partisan of 
 his '] 'gainst the duke. — Lear, ii. i. 
 
 The fit is momentary ; iipon a thought [' as quick as thought,' ' with the speed ot 
 thought'] he will be well again. — Macb., iii. 4. 
 
 Come with a thought ! . Ariel, come ! — Temp., iv. i. 
 
 And, with a thought, seven of the eleven I paid. — i H. IV., ii. 4. 
 
 He comes upon a wish [' immediately on my wish,' ' just as I have been wishing for 
 him ']. — Jul. C, iii. 2. 
 
 All this done upon the gad J [' upon the spur of the moment ']. — Lear, i. 2. 
 
 With horsemen, that make to him on the spur [' as fast as their steeds, hastened by 
 spurring, can go']. — yul. C, v. 3. 
 
 Or look upon [' face,' ' confront,' ' meet face to face '] our Britons. — Cym., ii. 4. 
 
 To deliver his head in the view [' to the sight '] of Angelo. — M.for M., iv. 2. 
 
 And in the view [' in the sight '] of the shepherd. — W. T., v. 2. 
 
 Here, in the view of men, I will unfold some causes of. — R. II., iii. i. 
 
 Fetch hither Richard, that in common view [' in sight of every one '] he may sur- 
 render. — Ibid., iv. I. 
 
 In the view ['in sight,' 'in the presence'] of many lords, resign'd the crown. — 
 3 H. VI., i. I. 
 
 In view [' in the sight '] of Trojans and of Greeks. — Tr. &• Cr., i. 3. 
 
 Alas, that love, so gentle in his view ['in his appearance '] , 
 
 Should be so tyrannous and rough in proof! — R. &• yul., i. i. 
 
 They lie in view [' within sight '] ; but have not spoke as yet. — Coriol., i. 4. 
 
 The enemy 's in view ; draw up your powers. — Lear, v. i. 
 
 Even with this I \o%t fair England's view [' sight of fair England ']. — 2 H. VI., iii. 2. 
 
 And do invite you to my sister's view [' the sight or presence of my sister '], whither 
 straight I '11 lead you. — Ant. Sy C, ii. 2. 
 
 You should tread a course pretty and full of view [' full of promising aspect,' ' full 
 of means of observation,' and ' full in view.' See Varied Meanings combined in One 
 Word or Sentence]. — Cym., iii. 4. 
 
 I '11 show it you : and, by the way [' as we go along thither '], you shall tell me where 
 in the forest you live. — As You L., iii. 2. 
 
 For, by the way, I '11 sort occasion, as index. — R. III., ii. 2. 
 
 And by the way possess thee what she is. — Tr. &• Cr., iv. 4. 
 
 This, by the way [' by-the-bye,' ' meantime '], I let you understand. — Tarn, of S., iv. 2. 
 
 And one that is your friend, I can tell you that by the way [' moreover ']. — 
 Merry W., i. 4. 
 
 We come not by the way ['by means'] of accusation, to taint that honour. — 
 H. F/77.,iii. I. 
 
 I hear it by the way [' by indirect means,' ' by side-wind information,' ' by a 
 surreptitious course ']. — Macb., iii. 4. 
 
 2 D 
 
402 THE SHAKESPEARE KEY. 
 
 Come your ways, come your ways ['come along,' 'come hither with me']. — 
 Tr. &• Cr., iii. 2. 
 
 Look to t, I charge you : come your ways. — Hamlet, i. 3. 
 
 Well. ^0 thy Kay ['go along with thee,' 'pursue thine own way']: thou shalt not 
 from this grove, till I. — Mid. N. D., ii. 2. 
 
 Well, go thy way [' be off with thee,' ' be gone,' • I give thee thy way '] ; if Sir Toby 
 would leave drinking, thou. — Tw. N., i. 5. 
 
 Go thy v;ay ['go on thine own way,' 'thou know'st well what thou'rt about']. 
 Hector ! There 's a brave man . . . Go thy icay, TroiluSjg'o thy way ! — Tr. &• Cr., i. 2. 
 
 Go thy Kays, wench ; serve God. — R. &• ynl.. ii. 5. 
 
 Say'st thou so, old Jack ; go thy ways ; I '11 make more of thy old body than I have 
 done. — Merry W., ii. 2. 
 
 Go thy ways, old Jack ; die when thou wilt, if manhood, good manhood, be not 
 forgot. — I H. IV., ii. 4. 
 
 Ay, go your ways, go your ways [' go away,' ' go along with you '] : I knew. — 
 As You L., iv. I. 
 
 God amend us, God amend ' we are much out 0' the way [' strayed from rectitude, 
 or the right path ']. — Love's L. L., iv. 3. 
 
 He draws Mark Antony out of the way [' apart,' ' away']. — ful. C, iii. i. 
 
 A pox of drowning thyself! it is clean out of the Kay [' out of the question, ' away 
 from the purpose ']. — 0th., i. 3. 
 
 I '11 devise a mean to draw the Moor out of the way [' apart,' ' away '], that your 
 converse and business. — Ibid., iii. i. 
 
 Is 't lost ? is t gone ? speak, is it out 0' the way? [' mislaid ']. — Ibid., iii. 4. 
 
 But at fourscore it is too late a week [' too late a period of time,' ' too late an epoch,' 
 ' too late by at least a week.' See " Too dear a halfpenny," previously cited]. — 
 As You L., ii. 3. 
 
 She '11 burn a week longer [' at least a week longer,' ' a good portion of time longer'] 
 than the whole world. — Com. of E., iii. 2. 
 
 Well be with you ['I wish you well,' 'good wishes to you'], gentlemen! — 
 Hamlet, ii. 2. 
 
 If the sins of your youth are forgiven you, you re well to live [' you will live well,' 
 ' you will be fortunate to live ']. — W. T,, iii. 3. 
 
 Well said ! [' well done '] thou look'st cheerly. — As You L., ii. 6. 
 
 Spread. Davy; spread, Davy: well said, Davy. — 2 H. IV., v. 3. 
 
 Well said, my hearts I — R. &• yul., i. 5. 
 
 Come, give me that : this way ; well said. — Ant. &• C, iv. 4. 
 
 What said he ? How looked he ? Wherein went he ? [' In what clothes was he 
 dressed]. — As You L., iii. 2. 
 
 And he went still in this fashion ['was always dressed in this style'], colour, 
 ornament. — Tw. N., iii. 4. 
 
 Jove sometime went disguis'd [' was disguisedly attired '], and why not I ' — 
 2 H. VI., iv. I. 
 
 Never iack'd gold, and yet went never gay [' never dressed gaily']. — 0th., ii. i. 
 
 And thane of Cawdor too ; went it not so ? [' did not the prediction run thus']. — 
 Macb., i. 3. 
 
 When three or four of his blind brothers went to it ['were killed,' 'went to death,' 
 ' went to destruction ']. — Two G. of V., iv. 4. 
 He shall conceal it. 
 
 Whiles you are willing it shall come to note. 
 
 What time [' at which time,' ' when '] we will our celebration keep. — Tw. N., iv. 3. 
 
 An thou canst not smile as the wind sits [' according to the mood that pleases thy 
 superiors '], thou 'It catch cold. — Lear, i. 4. 
 
 Is 't possible ? Sits the wind in that corner ? [' does the air of her favour blow in 
 that direction,' ' is this the state of affairs']. — M. Ado, ii. 3. 
 
IDIOMS. 403 
 
 Though my reason sits in the zviiid against me [' blows me in the contrary direction,' 
 ' advises me to a different course ' |. — Ant, &• C, iii. 8. 
 
 There is something in the wind [• there is something going forward,' ' there is some- 
 thing adverse threatening'], that we cannot get in. — Com of E., iii. i. 
 
 By this same coxcomb that we have i' the wind [' we have got the wind of,' ' got 
 the upper hand of; also, 'we have got scent of,' 'on whose track we are']. — 
 All's W., iii. 6. 
 
 He knows the game : how true he keeps the wind ! [' maintains the advantage he has 
 gained,' ' pursues the track he is on ']. — 3 H. VI., iii. 2. 
 
 Why do you go about to recover the wind of me? ['take advantage of me']. — 
 Hamlet, iii. 2. 
 
 It keeps on the windy side [' on the safe side,' ' on the side protected from the wind,' 
 ' on the advantageous side '] of care. — M. Ado, ii. i. 
 
 Still you keep 0' the windy side of the law: good. — Tw. N., iii. 4. 
 
 Brown, madam : and her forehead as low as she would wish it [' lower than she 
 could wish it to be ']. — Ant. &> C, iii. 3. 
 
 So will you wish on me [' invoke curses upon me'], when the rash mood is on. — 
 Lear, ii. 4. 
 
 O, a good wish upon you ! [' may you have your wish ']. — As You L., i. 3. 
 
 Exceeding those that I can wish upon thee [' invoke upon thee'].^i?. Ill , i. 3. 
 
 I will wish him ['recommend him 'J to her father. — Tarn ofS., i. 1. 
 
 I would not wish them to [' aspire after for them,' ' desire for them '] a fairer death. 
 — Macb., V. 7. 
 
 When man was wish'd to [' enjoined to,' ' desired to '] love his enemies ! — Timon, iv. 3 . 
 
 Bringeth sensible regreets — to zait ['that is to say,' ' be it known '], (besides com- 
 mends, and courteous breath), gifts of rich value ! — Mer. of V., ii. 9. 
 
 Diest; or, to wit, I kill thee, make thee away. — As You L., v. i. 
 
 To wit, no female should be inheritrix in Salique land. — H. V., i. 2. 
 
 To wit, an indigested and deformed lump. — 3 H. VI., v. 6. 
 
 But 'tis no wit [' unwise '] to go. — R. &■ Jul., i. 4. 
 
 Witness [' as may be attested by '] our too much memorable shame, when Cressy 
 battle. — H. V., ii. 4. 
 
 You appeared to me but as a common man ; witness the night, your garments, your 
 lowliness. — Ibid., iv. 8. 
 
 Witness the hole you made in Caasar's heart. — Jul. C, v. i. 
 
 Witness this army, of such mass and charge. — Hamlet, iv. 4. 
 
 Woe, woe are we ['most grieved are we.' See Oaths, Exclamations, &c.], sir, you 
 may not live to wear. — Ant. &• C, iv. 12. 
 
 Hob, nob, is his word [' is his decree '] ; give 't or take 't. — Tw. N., iii. 4. 
 
 That is done too, sir ; only cover is the word [' the determined fact,' ' the decreed 
 thing,' ' the definitive sentence ']. — Mer. of V., iii. 5. 
 
 Slaying is tite word ; it is a deed in fashion. — Jul. C, v. 5. 
 
 If they suffer our departure, death's the word. — Ant. &• C, i. 2. 
 
 Hanging is the word, sir; if you be ready for that. — Cym., v. 4. 
 
 Pardon 's the word to all. — Ibid., v. 5. 
 
 Coupe le gorge! That is the word. I thee defy again. — H. V., ii. i. 
 
 The word is, " Pitch and pay ' ; trust none. — Ibid., ii. 3. 
 
 The word is, mildly : pray you, let us go. — Coriol., iii. 2. 
 
 Now have I dotie a good day's work [' accomplished a good deed.' See " Made good 
 work," previously cited]. — R. III., ii. i. 
 
 How earnestly are you set a' work ['urged to act'], and how ill requited! — 
 Tr. &■ Cr., v. 11. 
 
 My son profits nothing in the world [' whatever'] at his book. — Merry W., iv. i. 
 I do nothing in the world but lie. — Love's L. L., iv. 3. 
 
 2 D 2 
 
404 THE SHAKESPEARE KEY. 
 
 And it is nothing, nothing in the world. — Mid. N. D., v. i. 
 
 He hath no interest in me in the world. — As You L., v. i. 
 
 I will choose mine heir from forth the beggars of the world [' in chief,' ' in especial,' 
 'paramount,' 'most notorious']. — Timon, i. i. 
 
 The beauty of the world ! the paragon of animals ! — Hamlet, ii. 2. 
 
 I therefore apprehend and do attach thee, for an abuser of the world [' pre-eminent,' 
 ' unparalleled ' ; and also implying ' of mankind,' ' of the public '], a practiser of arts 
 inhibited. — 0th., i. 2. \^ee "A woman of the world," previously cited, for an idiom 
 formerly in use.] 
 
 Seeming ! I will write against it [' denounce it,' ' protest against it ']. — M. Ado, iv. i. 
 
 I'll write against them ['denounce them,' 'protest against them'], detest them, 
 curse them. — Cym., ii. 5. 
 
 I 'd give bay Curtal and his furniture. 
 
 My mouth were no more broken than these boys'. 
 
 And writ as little beard [' subscribed or confessed to owning as little beard,' ' gave 
 tokens of possessing as little beard']. — AlVs W., ii. 3. 
 
 I must tell thee, sirrah, I write man [' give evidence of the right to be called a man,' 
 ' show that I am worthy to be styled a man,' ' proclaim myself to be a man '] ; to 
 which title age cannot bring thee. — Ibid., ii. 3. 
 
 Observe his inclination in yourself [' in your own person,' ' by your own obser- 
 vations ']. — Hamlet, ii. i. 
 
 Shakespeare uses some idiomatic terms of number : — 
 
 A brace of [' two '] draymen bid God speed him well. — R. II., i. 4. 
 
 And I . . have lost a brace of kinsmen. — R. &• yul., v. 3. 
 
 I have not a case of [' three '] lives. — H, V., iii. 2. 
 
 A couple [' two '] of Ford's knaves, his hinds. — Merry W., iii. 5. 
 
 Have ta'en a couple of as arrant knaves as any in Messina. — M. Ado, iii. 5. 
 
 I am sworn brother to a leash of [' three '] drawers. — i H. IV., ii. 4. 
 
 That you three fools lack'd me, fool, to make up the mess ['the four']. — 
 Love's L. L; iv. 3. 
 
 A mess of [' four '] Russians left us but of Jate. — Ibid., v. 2. 
 
 Where are your mess of [' four '] sons to back you now. — 3 H. VI., i. 4. 
 
 Here comes a pair of [' two '] very strange beasts. — As You L., v. 4. 
 
 Here justified by us, a pair 0/ kings. — W. T., v. 3. 
 
 Made a pair of [' a set of,' ' a flight of] stairs to marriage. — As You L,, v. 2. 
 
 And apair of [' a set of] stocks in the town ? — Com. of E,, iii. i. 
 
 I '11 make a {at pair of [' set of] gallows. — i H. IV., ii. i. 
 
 Than the length and breadth of a pair of [' a set of] indentures? — Hamlet, v. i. 
 
 I yet am unprovided of a pair of [' a set of '] bases . . . thou shall have my best 
 gown to make thee apair. — Per., ii. i. 
 
 Shakespeare uses several idioms of elliptical expression : — 
 
 [Be gone] about it : you know where to find me. — 2 H. IV., i. 2. 
 
 [Hasten] after, Aumerle ! Mount thee. — R. II.. v. 2. 
 
 And he to England shall [go] along with you. — Hamlet, iii. 3. 
 
 Thou shalt not [go] back, till I have borne. — Jul. C, iii. i. 
 
 Let Romeo [depart] hence in haste. — R. &• yul., iii. i. 
 
 Early to-morrow will we rise, and [go] hence.— yul, C, iv. 3. 
 
 I will [go] from hence to-day. — Cym., i. 2. 
 
 Say she '11 [go] home to her father. — Cym., iii. 2. 
 
 IHl [go] through Glo'stershire. — 2 H. IV., iv 3. 
 
 I'll [go] to the king, my master, that is dead. — Ibid., v. 2. 
 
 I HI not [go] to Rome, /'// [go] back with you. — Coriol., v. 3. 
 
 Menas, / '// jiot [go] on shore. — Ant. &• C, ii. 7. 
 
IDIOMS. 405 
 
 / 7/ willingly [go] to him : to gain his colour. — Cym., iv. 2. 
 
 By this sun that shines, / '// [go] thither. — Ibid., iv. 4. 
 
 I'll [have] no more drumming; a plague of all drums ! — All's W., iv. 3. 
 
 /'// [have] no swaggerers . . no, /'// [have] no swaggerers. — 2 H. IV., ii. 4. 
 
 No ; / '// [have] no Anne Bullens for him. — H. VIII., iii. 2. 
 
 No, I'll [have] nothing ; for if I should be brib'd too. — Timon, i. 2. 
 
 [Let us go] in to my tent, the air is raw and cold. — R. III., v. 3. 
 
 Shall we [go] in ? I '11 keep you company. — Timon, i. i. 
 
 Good nuncle [go], in, and ask thy daughter's blessing. — Lear, iii. 2. 
 
 Thither I must [go], although against my will. — Com. of E., iv. i. 
 
 You must [fight] no more.— Tc. &• Cr., iv. 5. 
 
 I mtcst [go] to England ; you know that ? — Hamlet, iii. 4. 
 
 I must [go] to the watch. — 0th., ii. 3. 
 
 On mine own accord I '11 [go] off. — W. T., ii. 3. 
 
 [Go] on, Bardolph ; lead the men away. — 2 H. IV., iii. 2. 
 
 I will [go] on with my speech in your praise. — Tw. N., i. 5. 
 
 Or shall we [go] on, and not depend on you ? — yul. C, iii. i. 
 
 Please it your grace, [go] on to the state affairs. — 0th., i. 3. 
 
 Thither shall it [go], then : and happily may. — yohn, v. 7. 
 
 [Away, be gone] to the church : take the priest. — Tarn, of S., iv. 4. 
 
 [Let us proceed] to this gear — the sooner the better. — 2 H. VI., i. 4. 
 
 Achilles will not [go] to the field to-morrow. — Tr. &• Cr., ii. 3. 
 
 Pray you, let 's [go] to him. — CorioL, iii. i. 
 
 Let 's [go] to our affairs. Forgive us our sins ! — 0th., ii. 3. 
 
 If you have any music that may not be heard, [set] to't again. — Ibid., iii. i. 
 
 If we compose well here [we will undertake the expedition], to Parthia.— Ant. 6" C, ii. 2. 
 
 He shall [go] to Parthia. — Ibid., ii. 3. 
 
 He purposeth [to go] to Athens : whither, with what haste.^Ibid., iii. i. 
 
 [Go] to the sea-side straightway: I will possess you. — Ibid., iii. g. 
 
 [Go] to him again: tell him he wears the rose of youth. — Ibid., iii. 11. 
 
 [Hasten] to the monument '. . . . To the monument ! . .To the monument ! — 
 Ibid., iv. II. 
 
 [Let me repair] to the trunk again, and shut the spring of it. — Cym., ii. 2. 
 
 [Betake you] to some shade, and fit you to your manhood. — Ibid., iii. 4. 
 
 Pray, sir, [let us go] to the army: I and my brother. — Ibid., iv. 4. 
 
 Now [let me turn] to my daughter's letter. — Per., ii. 5. 
 
 What, shall we [go] toward the Tower ? — R. III., iii. 2. 
 
 Let us [go] toward the king. — Macb., i. 3. 
 
 But [be gone], up to the mountains ! — Cym., iii. 3. 
 
 Bid them all home ; he 's gone, and we 'II [go] no farther. — CorioL, iv-. 2. 
 
 Now we 'II [go] together ; and the chance of goodness. — Macb., iv. 3. 
 
 Sons, we '11 [go] higher to the mountains. — Cym., iv. 4. 
 
 Soft, soft ! we 'II [have] no defence. — Ibid., iii. 4. 
 
 His lordship will [depart] next morning for France. — All's W., iv. 3. 
 
 We will [go] ourself in person to this war. — R. II., i. 4. 
 
 We will not [move] from the helm to sit and weep. — 3 H. VI., v. 4. 
 
 Why, then, will I [fight] no more. — Tr. &• Cr., iv. 5. 
 
 Where 's Hector ? I will [have, or fight with] none but Hector. — Ibid., v. 5. 
 
 I will not [go] out of doors ... I will not [go] over the threshold . . . indeed, I 
 will not [go] forth.— Corio/., i. 3. 
 
 Nay, your wit will not [issue] so soon out as another man's will — 'tis strongly 
 wedged up in a block-head. — Ibid., ii. 3. 
 
4o6 THE SHAKESPEARE KEY. 
 
 I will [go] to-morrow (and betimes I k'/Z/ [go]) to the. — Macb., iii. 4. 
 He calls to horse ; but will [go] I know not whither. — Lear, ii. 4. 
 I will [go] with you to the court. — 2 H. IV., iii. 2. 
 By the good gods, I 'd [go] with thee every foot. — Coriol., iv. i. 
 I mean, Master Slender, what would you [have] with me ? — Truly, for mine own 
 part, / would [have] little or nothing witli you. — Alerry W., iii. 4. 
 
 Now, say, Chatillon, what would France [have] with us .' — John, i. i. 
 
 He is very sick, and would [go] to bed. — H. V., ii. i. 
 
 There 's something more would [proceed] out of thee ; what say'st ? — H. VIII., i. 2. 
 
 Now say, what would Augustus Ccesar [have] with us ? — Cym., iii. i. 
 
 Where's Troilus? — What wouldst thou ? [have with him]. — Tr. &• Cr., v. 6. 
 
 IMPERATIVE MOOD: SUBJUNCTIVE MOOD. 
 
 Shakespeare occasionally uses both these moods very ellipticalh" ; 
 allowing one or more words to be understood in the sentence thus 
 constructed. Witness the following passages where he employs the 
 imperative mood : — 
 
 But, be it [so] ; let it live: it shall not neither. — W. T., ii. 3. 
 
 Love they to live [' let them love to live '] that love and honour have. — R. II., ii. i. 
 
 Hold out ray horse [' let but my horse hold out'], andlwill first be there. — Ibid., ii. i. 
 
 [May] thy ignominy sleep with thee in the grave. 
 
 But not [be] remember'd in thy epitaph ! — i H. IV., v. 4. 
 
 Now bind my brows with iron ; and [let] approach 
 
 The ragged'st hour that time and spite dare bring, 
 
 To frown upon th' enrag'd Northumberland. — 2 H. IV., i. i. 
 
 Yet [let] Heavens have glory for this victory ! — i H. VI., iii. 2. 
 
 Dismay not [' be not dismayed '], princes, at this accident. — Ibid., iii. 3. 
 
 Before young Talbot from old Talbot fly, 
 
 [Let] the coward horse that bears me fall and die ! — Ibid., iv. 6. 
 
 [Let it] sort how it will, I shall have gold for all. — 2 H. VI., i. 2. 
 _ Ask what thou wilt : [would] that I had said and done ! — Ibid., i. 4. 
 
 [May] such hope have all the line of John of Gaunt I — 3 H. VI., i. i. 
 
 This day, [let] no man think he has business at his house. — H. VIII., v. 4. 
 
 Know the whole world [' be it known to the whole world '] he is as valiant. 
 
 Tr. &• Cr., ii. 3. 
 
 Appear it [' let it appear '] to your mind that. — Ibid., iii. 3. 
 
 [Let] what [ever] may be sworn by, both divine and human, seal what I end withal ! 
 — Coriol., iii. i. 
 
 Wash they [' let them wash '] his wounds with tears. — R. &• ^uL, iii. 2. 
 
 Henceforth [let there] be no feast, whereat a villain's not. — Timon, iii. 6. 
 
 [Would] that the whole life of Athens were in this ! — Ibid., iv. 3. 
 
 [Let] those enemies of Timon's, and mine own. 
 
 Whom you yourselves shall set out for reproof. 
 
 Fall, and no more. — Ibid., v. 5. 
 
 If I know this, know [' be it known to '] all the world besides, that. — jful. C, i. 3. 
 
 Now know you [' be it known to you '], Casca, I have mov'd. — Ibid., i. 3. 
 
 [May] the gods to-day stand friendly, that we may. 
 
 Lovers in peace, lead on our days to age ! — Ibid., v. i. 
 
 Therefore our everlasting farewell [let us] take. — Ibid., v. i. 
 
 And [may] the chance of goodness be like our warranted quarrel I — Macb., iv. 3. 
 
INDICATIONS OF CONDUCT, LOOK, AND GESTURE. 407 
 
 [Let] the soldiers' music and the rites of war 
 
 Speak loudly for him. — Hamlet, v. 2. 
 
 Answer my life [' let my life answer for '] my judgment. — Lear, i. i. 
 
 [Let] what will hap njore to-night, safe 'scape the king [' may the king escape 
 safely ']. — Ibid., iii. 6. 
 
 Oh, my dear father ! [may] Restoration hang thy medicine on my lips.— Ibid., iv. 7. 
 
 But [may] all the charms of love, salt Cleopatra, soften thy wan'd lip ! — 
 Ant. &" C, ii. I. 
 
 To make 3'ou brothers, and to knit your hearts 
 
 With an unslipping knot, take Antony [' let Antony take '] Octavia to his wife. — 
 Ibid., ii. 2. 
 
 And never fly off our loves again [' never let our loves fly off again '] 1 — Ibid., ii. 2. 
 
 Haste we for it [' let us haste for it '] : yet, ere we put ourselves in arms, despatch we 
 [' let us despatch '] the business we have talk'd of. — Ibid., ii. 2. 
 
 Lie they [' let them lie '] upon thy hand, and be undone by 'em ! — Ibid., ii. 5. 
 
 [Would] that he and Caesar might determine this great war in single fight ! — 
 Ibid., iv. 4. 
 
 This mortal house I '11 ruin, do Caesar what he can ['let Caesar do what he can ']. — 
 Ibid., v. 2. 
 
 [May] no exerciser harm thee! — Cym., iv. 2 (Song). 
 
 [Let] to write and read be henceforth treacherous ! — Ibid., iv. 2. 
 
 [Let] the hazard therefore due fall on me. — Ibid., iv. 4. 
 
 [Let] every villain be call 'd Posthumus Leonatus. — -Ibid., v. 5. 
 
 Quiet and gentle [be] thy conditions ! . . Happy what follows [' may what follows 
 be happy '] ! . . Now [may] the good gods throw their best eyes upon it ! — Per., iii. i . 
 
 And witness the following passages where he employs the subjunc- 
 tive mood : — 
 
 Prove it so [' if it should prove so '], let fortune pay the due for it, not I. — 
 Mer. of v., iii. 2. 
 
 Live thou [' if thou live '], I live. — Ibid., iii. 2. 
 
 Oh, if it prove [true], tempests are kind. — Tw. N., iii. 4. 
 
 [Though] his youth [be] in flood, I '11 prove this truth with my three drops of 
 blood.— T)-. &■ Or., i. 3. 
 
 [If I] live a thousand years, I shall not find myself so apt to die. — yul. C, iii. i. 
 
 Prove this [' if this should prove '] a prosperous day. — Ant. &■ C, iv. 6. 
 
 Live Roderigo [' if Roderigo live '], he calls me to a restitution. — Oth., v. i. 
 
 In the following passage, Shakespeare uses the imperative mood 
 somewhat peculiarly : — 
 
 Let your highness command upon me. — Macb., iii. i. 
 
 And, in the following, transposedly : — 
 
 Now, mild may be thy life [' may thy life be mild '] ! — Per., iii. i. 
 
 INDICATIONS OF CONDUCT, LOOK, AND GESTURE. 
 
 Several of these are to be found in Shakespeare's plays ; like a true 
 dramatist, accompanying and illustrating, by denotements of action 
 and appearance, certain passages of his dialogue. Some among them 
 denote a glance or a gesture on the part of the person speaking : — 
 
4o8 THE SHAKESPEARE KEY. 
 
 Ariel. . . . The king's son have I landed by himself; 
 Whom I left cooling of the air with sighs 
 In an odd angle of the isle, and sitting, 
 
 His arms in this sad knot \_Mimickingly folding his own arms across his breast].— 
 Temp., i. 2. 
 
 Antonio. . . Whom I, with this obedient steel, three inches of it, 
 Can lay to bed tor ever ; whiles you, doing thus [Making a thrust, expressive of 
 stabbing]. 
 
 To the perpetual wink for aye might put 
 This ancient morsel, this Sir Prudence. — Ibid,, ii. i. 
 
 Gobbo. . . . Lord, worshipped might he be ! What a beard hast thou got ! [Laying 
 his hand on the back of Launcelot's head, as the lad kneels beside him ; and 
 mistaking its shock of hair for a beard]. — Mer. of V., ii. 2. 
 
 Leontes. Didst perceive it ? 
 
 [Aside] They'r.' here with me [Making the sign vulgarly used for stigmatising a 
 deceived husband] already ; whispering, rounding, " Sicilia is a so-forth." — W. T., i. 2. 
 
 Leontes. I thought of her, even in these looks I made [Gazing upon Perdita, his 
 unknown daughter]. — Ibid., v. i. 
 
 Faulconbridge. . . . But, mother, I am not Sir Robert's son ; 
 I have disclaim'd Sir Robert and my land ; 
 Legitimation, name, and all is gone : 
 Then, good my mother, let me know my father — 
 
 Some proper man, I hope : who was it, mother [Throwing his arm round her, and 
 dropping his voice to a winning tone]. — yohn, i. i. 
 
 King Richard. I weep for joy, to stand upon my kingdom once again. 
 Dear earth, / do salute thee with my hand. 
 Though rebels wound thee with their horses' hoofs : 
 As a long parted mother with her child, 
 Plays fondly with her tears and smiles, in meeting ; 
 So, weeping, smiling, greet I thee, my earth. 
 
 And do thee favour with my royal hands [Laying his hand as in caressing benediction 
 on the earth]. — R. II., iii. 2. 
 
 Aumerle. Some honest Christian trust me with a gage: 
 That Norfolk lies, here do I throw down this [Throwing dozen a hood: which, 
 Holinshed records, was borrowed from a by-stander]. — Ibid., iv. 1. 
 
 Falstaff. . . . Oh, it is much that a lie with a slight oath, and a jest with a sad brow 
 [this shows that Falstaff occasionally enhanced some of his jokes by uttering them 
 with a grave face and a quiet dry manner ; though we may be sure that others he 
 delivered with a loud laugh, and all, with a twinkle of his eye that spoke volumes in 
 archness and roguery of meaning: and it is pleasant to have this indication from 
 Shakespeare's own hand of his Falstaft's manner], will do with a fellow that never had 
 the ache in his shoulders ! Oh, you shall see him laugh till his face be like a wet cloak 
 ill laid up !— 2 H. IV., v. i. 
 
 Pistol. . . Sir John, thy tender lambkin now is king ; 
 Harry the Fifth's the man. I speak the truth : 
 
 When Pistol lies, do this [making a contemptuous gesture indicative of insult; usually 
 performed by placing the thumb between the fore and middle finger] ; and fig me, like 
 the bragging Spaniard. — Ibid., v. 3. 
 
 Williams. Sir, know you this glove [Showing the glove he has received overnight 
 from the king] ? 
 
 Fhiellen, Know the glove ! I know the glove is a glove. 
 
 Williams. I know this [Pointing to the glove worn in Fluellen's cap] ; and thus I 
 challenge it [Strikes Fluellen]. — H. V., iv. S. 
 
 King Henry. Give me thy glove, soldier [Pointing to the glove worn by Williams, 
 and given to him by the king overnight] : look here is the fellow of it [Producing his 
 own other glove that he had retained when he gave one to Williams]. — Ibid., iv. 8. 
 
 Suffolk. Look on my George [Showing the insignia of the order, which he wears 
 beneath his disguise]. I am a gentleman : rate me at what thou wilt, thou shall be 
 paid. — 2 H. VI., iv. i. 
 
INDICATIONS OF CONDUCT, LOOK, AND GESTURE. 409 
 
 Warwick. . . . There's thy reward [Giving the messenger a gratuity], be gone. — 
 3 H. VI., iii. 3. 
 
 Clarence. Father of Warwick, know you what this means } [Taking the red rose out 
 of his hat, and flinging it at Warwick.] Look here, I throw my infamy at thee.— 
 ibid., V. I. 
 
 Gloster. . ■ This shoulder was ordain'd so thick, to heave ; 
 And heave it shall some weight, or break my back ; 
 
 Work thou [Pointing to his own head] the way, and that [Pointing to his own hand] 
 shall execute. — Ibid., v. 7. 
 
 Menenius. Take my cap [Flinging up his cap], Jupiter, and I thank thee. Hoo ! 
 Marcius coming home ! — Coriol., ii. i. 
 
 Third Citizen. He said he had wounds, which he could show in private ; and with 
 his hat, thus waving it in scorn [Mimicking the action described], " I would be consul, 
 savs he : " aged custom, but by your voices, will not so permit me ; your voices there- 
 fore"- when we granted that, Aere was [Making a gesture of waving off scornfully], 
 "I thank you for your voices — thank you — your most sweet voices: now you have 
 left your voices, I have no farther with you." — Was not this mockery? — Coriol., ii. 3. 
 
 Volumnia. I prythee now, my son, go to them, with this bonnet [Pointing to her son's 
 bonnet] in thy hand ; and thus far having stretched it [Stretching out her arm as if with 
 a cap held off in salutation], here be with them [Making continuous signs of courteous 
 inclination of the body and head], thy knee bussing the stones (for in such business 
 action is eloquence, and the eyes of the ignorant more learned than the ears), waving 
 thy head, which often, thus [Still continuing her prompted gestures], correcting thy 
 stout heart, now humble as the ripest mulberry that will not hold the handling. — 
 Ibid., iii. 2. 
 
 Samson. Nay, as they dare. / will bite my thumb at them ; which is a disgrace to 
 them, if they bear it [Bites his thumb at Abraham and Balthasar, as they enter : this 
 was a contemptuous . gesture, made by putting the thumb-nail into the mouth, and 
 letting it slip from the teeth with a. jerk and a slight noise ; which was considered a 
 desperate insult, and an excellent mode of beginning a quarrel]. — R. &• Jul., i. i. 
 
 Gregory [Aside to Samson]. Say — better: here comes one of my master's kinsmen 
 [Looking towards the quarter whence Tybalt approaches]. — Ibid., i. i. 
 
 Timon. . . . Nothing I '11 bear from thee 
 But nakedness, thou detestable town ! 
 
 Take thou that too [Successively throwing portions of his dress back in the direction 
 of Athens, towards which he looks as he goes], with multiplying bans. — Timon, iv. i. 
 
 Timon. Away, thou tedious rogue. I am sorry I shall lose a stone by thee [Throwing 
 a stone at Apemaxtus]. — Ibid., iv. 3. 
 
 Hamlet. . . . Remember thee ! Ay, thou poor ghost, while memory holds a seat in 
 this distracted globe [Putting his hand to his head], — Hamlet, i. 5. 
 
 Hamlet. . . . That you, at such times seeing me, never shall, with arms encumber' d 
 thus, or this head-shake [Making the gestures described], or by pronouncing. — Ibid., i. 5. 
 
 Voltimand. . . . With an entreaty, herein farther shown [G'lving a paper], ihiA \X. 
 might please you to. — Ibid., ii. 2. 
 
 Polonius. . . I have a daughter — ^have, while she is mime — who, in her duty and 
 obedience, mark, hath given me this [Producing Hamlet's letter to Ophelia]. — 
 Ibid., ii. 2. 
 
 Polonius. Take this from this [Pointing to his head and to his shoulder] if this be 
 otherwise. — Ibid., ii. 2. 
 
 Polonius. Ophelia, walk you here. . . . Read on this book [Giving her a prayer-book] ; 
 that show of such an exercise may colour your loneliness. — Ibid., iii. i. 
 
 Laertes. . . . Adieu, my lord : I have a speech of fire, that fain would blaze, but 
 that this folly douts it [Passing his hand across his moistened eyes]. — Ibid., iv. 7. 
 
 King. Stay ; give me to drink. Hamlet, this pearl is thine [Pretending to place " 
 pearl in the cup, and dropping a poisonous drug therein]; here's to thy health [Drinking 
 from another cup]. — Ibid., v. 2. 
 
410 THE SHAKESPEARE KEY. 
 
 Kent. . . . Approach, thou beacon to this under globe, 
 That by thy comfortable beams / may 
 
 Peruse this letter [Drawing forth a letter, and attempting to read it by the still imper- 
 fect light of coming dawn]. — Lear, ii. 2. 
 
 L'ear. . . Off, off , you lendings ! come, unbutton here [Tearing off his clothes']. — 
 Ibid., iii. 4. 
 
 Goneril. . . Wear this [Giving 'Enuv'tiT), a favour], s^axe speech; 
 Decline your head [Bending over Edmund, and kissing him, while affecting to whisper 
 with him] : this kiss, if it durst speak, would stretch thy spirits up. — Ibid., iv. 2. 
 
 Regan. ... If you do find him, pray you, give him this [Placing some ring or token 
 hi Oswald's care, to convey to EdmundJ. — Ibid., iv. 5. 
 
 Edmtmd. Come hither, captain; hark. Take thou this note [Giving the paper that 
 contains the warrant for the execution of Lear and Cordelia] ; go. — Ibid., v. 3. 
 
 Othello. ... I cannot speak enough of this content ; 
 It stops me here ; it is too much of joy : 
 
 And this, and this [Giving Desdemona repeated kisses], the greatest discords be, 
 That e'er our hearts shall make ! — 0th., ii. i. 
 
 Othello. . . . Look here, lago ; all my fond love thus do I blow to heaven [Making 
 ^'gn of discarding from his heart its passion of grief and affection] : 'tis gone. — 
 Ibid., iii. 3. 
 
 Othello. . . . Now, by yond' marble heaven, in the due reverence of a sacred vow. I 
 here engage my words. [Kneeling, 
 
 lago. Do not rise yet. [Kneeling also. 
 
 Witness, you ever-burning lights above, 
 ■you elements that clip us round about, — 
 Witness that here lago doth give up 
 The execution of his wit, hands, heart. 
 To wrong'd Othello's service.— /i(d., iii. 3. 
 
 Cassio. . . . And, by this hand, she falls me thus about my neck [Throwing his arm 
 over Iago's shoulder] — 
 
 Othello. Crying " O dear Cassio ! " as it were, his gesture imports it. — Ibid., iv. i. 
 
 Lodovico. The duke and senators of Venice greet you. [Giving Othello a packet. 
 Othello. I kiss the instrument of their pleasures [Taking the packet with an air of 
 deference, opening it, and beginning to read it]. — Ibid., iv. i. 
 
 Othello. Devil ! [Striking Desdemon-a. 
 
 Desdemona. I have not deserv 'd this. 
 
 Lodovico. My lord, this would not be believ 'd in Venice, 
 
 Though I should swear I saw it : 'tis very much . . . 
 
 . . . What, strike his wife ? — Ibid., iv. i. 
 
 Othello. We have done our course ; there 's money for your pains [Throws a purse 
 towards Emilia] : I pray you, turn the key, and keep our counsel. — Ibid., iv. 2. 
 
 Desdemona. . . . Here I kneel [Kneeling]: if e'er my will did trespass 'gainst his love 
 . . . comfort forswear me ! — Ibid., iv. 2. 
 
 Iras. There 's a palm [Holding forth her hand] presages chastity, if nothing else. — 
 Ant. &• C, i. 2. 
 
 Second Messenger. In Sicyon : her length of sickness, with what el^e more serious 
 importeth thee to know, this bears [Presenting a letter]. — Ibid., i. 2. 
 
 Ccesar. Sit. 
 
 Antony. Sit, sir. 
 
 Casar. Nay, then — [Taking his seat]. — Ibid., ii. 2. 
 
 Csesar's words have been differently interpreted here, by other 
 commentators, but we believe them to be an indication that he gives 
 way to Antony's request that he will be seated, and that they are 
 tantamount to — ' Nay, then, if you will have it so, I consent.' 
 
INDICATIONS OF CONDUCT, LOOK, AND GESTURE. 411 
 
 CtEsar. . . . Let me request you off; our graver business 
 Frowns at this levity. Gentle lords, let 's part ; 
 You see, we have burnt our cheeks : strong Enobarbe 
 Is weaker than the wine ; and mine own tongue 
 
 Splits what it speaks [Pronouncing thickly and ituirtictilately] : the wild disguise hath 
 almost antick'd us ail. — Ant, &• C, ii. 7. 
 
 Enobarbus. Hoo ! says 'a. There's my cap [Flinging up his cap], — Ibid., ii. 7. 
 
 Charmian. . . . Now boast thee, death, in thy possession lies a lass unparallel'd. 
 Downy windows, close [Closing Cleopatra's eyelids] ; and golden Phcebus never he 
 beheld of eyes again so royal ! Your crown 's awry; I 'II mend it [Adjusts the diadem 
 upon Cleopatra's 'AeadJ, and then play. — Ibid., ,v. 2. 
 
 lachimo. . . . Come off, come off [Detaching the bracelet from Ijiogen's arm] ; as 
 slippery, as the Gordian knot was hard ! 'Tis mine. — Cym., ii. 2. 
 
 Imogen. . . . Give colour to my pale cheek with thy blood [Laying her face upon the 
 breast of the corse which she believes to be that of her husband], that we the horrider 
 may seem to those which chance to iind us. my lord, my lord ! — Ibid., iv. 2. 
 
 Cerimon. Your master will be dead ere you return ; 
 There 's nothing can be minister'd to nature 
 
 That can recover him. Give this to the 'pothecary [Giving the servant a prescription to 
 be made up; for the behoof of the servant himself, who may be supposed to have 
 received some bruise or injury during the shipwreck in which his master has been 
 injured past help], and tell me how it works. — Per., iii. 2. 
 
 Thaisa. Now I know you better. 
 
 When we with tears parted Pentapolis, 
 The king my father gave you such a ring [Pointing to the ring upon Pericles' _/in^cr]. 
 
 Pericles. This, this ; no more, you gods ! — Ibid., v. 3. 
 
 Others denote look or gesture in the person addressed : — 
 
 Celia. And a chain, that you once wore, about his neck. Change you colour ? — 
 As You L., iii. 2. 
 
 Countess. Nay, a mother ; 
 
 Why not a mother ? when I said a mother, 
 
 Methought you saw a serpent : what 's in mother. 
 
 That you start at it? . . 
 
 God's mercy, maiden ! does it curd thy blood, 
 
 To say, I am thy mother ? What 's the matter. 
 
 That this distemper'd messenger of wet. 
 
 The many-colour'd Iris, rounds thine eye ? . . . 
 
 Heaven shield, you mean it not ! daughter, and mother, 
 
 So strive upon your pulse. V^hsX \ pale again ? . . 
 
 But tell me then, 'tis so ; for, look, thy cheeks 
 
 Confess it th' one to th' other ; and thine eyes 
 
 See it so grossly shown in thy behaviours. 
 
 That in their kind they speak it. — All's W., i. 3. 
 Olivia. God comfort thee ! Why dost thou smile so, and kiss thy hand so oft ? — 
 Tw. N; iii. 4. 
 
 Leontes. . . . What ! look upon my brother : both your pardons. 
 That e'er I put between your holy looks 
 My ill suspicion. — W. T., v. 3. 
 
 Those few subtly introduced words serve to show that Hermione 
 keeps her face sensitively averted from Polixenes, until her husband 
 thus penitently avows his former unworthy misconstructions. 
 
 Constance. . What dost thou mean by shaking of thy head ? 
 Why dost thou look so sadly on my son ? 
 What means that hand upon that breast of thine ? 
 Why holds thine eye that lamentable rheum. 
 Like a proud river peering o'er his bounds ? 
 Be these sad signs confirmets of thy words ? — jfohn, iii. i. 
 
412 THE SHAKESPEARE KEY. 
 
 Lady Percy. Then should you be nothing but musical ; 
 For you are altogether governed by humours. 
 Lie still., ye thief, and hear the lady sing in Welsh. 
 
 Hotspur. I had rather hear Lady, my brach, howl in Irish. 
 
 Lady Percy. Wouldst thou have thy head broken ? 
 
 Hotspur. No. 
 
 Lady Percy. Then be still. — i H. IV., iii. i. 
 
 Excellently the above serves to show the by-play of Hotspur's 
 characteristic restlessness ; which here takes the form of half impudent 
 conjugal caress, half impatient military petulance at the music. 
 
 Northumberland. How doth my son and brother ? 
 Thou tremblest ; and the whiteness in thy cheek 
 Is apier than thy tongue to tell thy errand. 
 Even such a man, so faint, so spiritless, 
 So dull, so dead in look, so woe-begone, 
 Drew Priam's curtain in the dead of night. 
 And would have told him, half his Troy was burn'd . . . 
 I see a strange confession in thine eye : 
 Thou shak'st thy head, and hold'st it fear, or sin, 
 To speak a truth. — 2 H. IV., i. i. 
 
 Clarence. Thy voice is thunder, but thy looks are humble. 
 
 First Murderer. My voice is now the king's, my looks mine own. 
 
 Clarence. How darkly and how deadly dost thou speak ! 
 Your eyes do menace me : why look you pale ? 
 Who sent you hither ? Wherefore do you come ? — R. III., i. 4. 
 
 Kitig Richard. . . . My lord of Surrey, why look you so sad ? — Ibid., v. 3. 
 
 Capulet. . . . How now ! a conduit, girl } What, still in tears ? 
 Evermore showering ? . . Out, you greensickness 
 Carrion ! out, you baggage ! you tallow-face ! — R. &• jftil., iii. 5. 
 
 Balthasar. I do beseech you, sir, have patience ; 
 Your looks are pale and wild, and do import 
 Some misadventure. — Ibid., v. i. 
 
 Lady Macbeth. . . . Your face, my thane, is as a book where men 
 May read strange matters : to beguile the time. 
 Look like the time ; bear welcome in your eye. 
 Your hand, your tongue ; look like the innocent flower. 
 But be the serpent under it. . . . Only look up clear; 
 To alter favour ever is to fear. — Macb., i. 5. 
 
 Lennox. Here, my good lord. What is 't that moves your highness? — Ibid , iii. 4. 
 
 Lady Macbeth. . . . Shame itself! 
 Why do you make such faces ? When all 's done. 
 You look but on a stool. 
 
 Macbeth. Pr'ythee, see there ! behold I look ! lo ! how say you ? 
 Why, what care I ? If thou canst nod, speak too. . 
 Thou hast no speculation in those eyes 
 Which thou dost glare with! — Ibid., iii. 4. 
 
 Malcolm. Merciful Heaven ! 
 
 What, man ! ne'er pull your hat upon your brows ; 
 Give sorrow words : the grief that does not speak 
 Whispers the o'erfraught heart, and bids it break. — Ibid., iv. 3. 
 
 Macbeth. . . . The devil damn thee black, thou cream-fac'd loon ! 
 Where got'stthon that goose look .'' . . . 
 Go, prick thy face, and over-red thy fear. 
 Thou lily-liver'd boy. What soldiers, patch ? 
 Death of thy soul ! those linen cheeks of thine 
 Are counsellors to fear. What soldiers, whey-face? — Ibid., v. 3. 
 
INDICATIONS OF CONDUCT, LOOK, AND GESTURE. 413 
 
 Othello. . . . And didst contract and purse thy brow together. 
 As if thou then hadst shut up in thy brain 
 Some horrible conceit. — 0th., iii. 3. 
 
 lago. I see, this Tiath a little dash'd your spirits. . . . 
 . . . but, I do see you are mov'd. — Ibid., iii. 3. 
 
 Dcsdemona. Alas, the heavy day ! Why do you weep ? 
 Am I the occasion of these tears, my lord ? — Ibid., iv. 2. 
 
 logo. Do not weep, do not weep : alas, the day ! — Ibid., iv. 2. 
 
 lago. WhsLt, look you pale ? . . . Look you pale, mistress? . 
 Nay. if you stare, we shall hear more anon. . . . 
 What, do you shake at that ? 
 
 Bianca. He supp'd at my house ; but I therefore shake not. — Ibid., v. i. 
 
 Dcsdemona. And yet I fear you ; for you are fatal then, 
 When your eyes roll so. . . . 
 Alas ! why gnaw you so your nether lip ? 
 Some bloody passion shakes your very frame. — Ibid., v. 2. 
 
 Emilia. Nay, lay thee down and roar ; 
 For thou hast kill'd the sweetest innocent, 
 That e'er did lift up eye. — Ibid,, v. 2. 
 
 Gratiano. Fie ! your sword upon a woman ! — Ibid., v. 2. 
 
 Othello. Now, how dost thou look now ? ill-starr'd wench ! 
 Pale as thy smock ! when we shall meet at compt. 
 This look of thine will hurl my soul from heaven. — Ibid., v. 2. 
 
 Pisanio. Madam, a noble gentleman from Rome, 
 Comes from my lord with letters. 
 
 lachimo. Change you, madam ? 
 
 The worthy Leonatus is in safety, 
 And greets ybur highness dearly. — Cym., i. 7. 
 
 Cymbcline. Thou weep'st and speak'st. 
 
 The service that you three have done is more 
 Unlike than this thou tell'st. — Ibid., v. 5. 
 Marina. I said, my lord, if you did but know my parentage, you would not do me 
 violence. — Per., v. i. 
 
 Others denote look or gesture in the person spoken of : — 
 
 Countess. . Her eye is sick on 't : I observe her now. — All's W., i. 3. 
 Maria. He 's coming, madam ; but in very strange manner. 
 He is, sure, possessed, madam. 
 
 Olivia. Why what 's the matter ? does he rave ? 
 Maria. No, madam, he does nothing but smile. — Tw. N., iii. 4. 
 Paulina. Music, awake her ; strike ! 
 'Tis time ; descend ; be stone no more ; approach ; 
 Strike all that look upon with marvel . . . 
 
 . . . You perceive, she stirs. . . . 
 . . . Nay, present your hand : 
 When she was young, you woo'd her ; now, in age. 
 Is she become the suitor. . . . 
 Polixenes. She embraces him. 
 Camillo. She hangs about his neck. — W. T., v. 3. 
 Falstaff. . . . That thou art my son, I have partly thy mother's word, partly my 
 own opinion ; but chiefly, a villanous trick of thine eye, and a foolish hanging of thy 
 nether lip, that doth warrant me. — i H. IV., ii. 4. 
 
 Northumberland. Yea, this man's brow, like to a title-leaf, 
 Foretells the nature of a tragic volume : 
 So looks the strond, whereon th' imperious flood 
 Hath left a witness d usurpation. — 2 H. IV., i. i. 
 
 Lady Percy. . . And speaking thick, which nature made his blemish. 
 Became the accents of the valiant. — Ibid., ii. 3. 
 Falstaff. Carry Master Silence to bed. — Ibid., v. 3. 
 
414 THE SHAKESPEARE KEY. 
 
 Catesby. The king is angry : see, he gnaws his lip. — R. III., iv. 2. 
 
 King Richard. Saw'st thou the melancholy lord Northumberland ? — Ibid., v. 3. 
 
 Agamennon. Is not yond' Diomed, with Calchas' daughter ? 
 
 Ulysses. 'Tis he, I ken the manner of his gait ; 
 He rises on the toe : that spirit of his 
 In aspiration lifts him from the earth. — Tr. &' Cr., iv. 5. 
 
 Brutus. I will do so ; but, look you, Cassius, 
 The angry spot doth glow on Ccssafs brow. 
 And all the rest look like a chidden train : 
 Calphurnia^s cheek is pale ; ^znd Cicero 
 Looks with sucit ferret and such f cry eyes. 
 As we have seen him in the Capitol, 
 Being cross'd in conference by some senators. — ^ul. C. i. 2. 
 
 Ctssar. . . Yond' Cassius has a lean and hungry look ; 
 He thinks too much : such men are dangerous. . . . 
 Seldom he smiles ; and smiles in such a sort 
 As if he mock'd himself, and scorn'd his spirit 
 That could be mov'd to smile at any thing. — Ibid., i. 2. 
 
 Othello. Look, how he laughs already ! . . 
 Now he denies it faintly, and laughs it out. 
 Now he importunes him to tell it o'er. . . . 
 So, so, so, so : they laugh that win. . . 
 lago beckons me j now he begins the story. — 0th., iv. i. 
 
 lago. . . Do yon perceive the gastness of her eye .' . 
 Behold her well ; I pray you, look upon her : 
 Do you see. gentlemen ? nay, guiltiness will speak 
 Though tongues were out of use. — 0th., v. i. 
 First Servant. Here they '11 be, man. Some 0' their plants are ill-rooted already ; 
 the least wind i the world will blow them down. 
 
 Second Servant. Lepidus is high-coloured. — Ant. &' C, ii. 7. 
 
 Belarius. I cannot tell ; long is it since I saw him, 
 But time hath nothing blurr'd those lines of favour 
 Which then he wore ; the snatches in his voice. 
 And burst of speaking, were as his : I am absolute 
 'Twas very Cloten. — Cym., iv. 2. 
 
 Pericles. Look, who kneels here ! Flesh of thy flesh, Thaisa, 
 Thy burden at the sea, and called Marina. — Per., v. 3. 
 
 Occasionally, there are indications of look or gesture in the person 
 spoken of, though addressed in the second person : — 
 
 lago (Aside). He takes her by the palm : ay, well said, whisper : with as little a web 
 as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do ; I will gyve thee 
 in thine own courtship. You say true ; 'tis so, indeed : if such tricks as these strip you 
 out of your lieutenantry, it had been better you had not kissed your three fingers so oft, 
 which now again yon are most apt to play the sir in. Very good ; well kissed ! an ex- 
 cellent courtesy ! 'tis so indeed. Yet again your fingers to your lips ? — 0th., ii. i. 
 Guiderius. Oh, sweetest, fairest lily ! 
 
 lly brother wears thee not the one half so well 
 As when thou grcw'st thyself- — Cym., iv. 2. 
 
 In the two following passages we have indication of a peculiar ges- 
 ture denoting hearty relish of something heard : — 
 
 One rubb'd his elbow, thus, and fleer'd, and swore, 
 
 A better speech was never spoke before. — Love's L. L., v. 2. 
 
 To face the garment of rebellion 
 
 With some fine colour, that may please the eye 
 
 Of fickle changelings, and poor discontents. 
 
 Which gape, and rub the elbow, at the news 
 
 Of hurly-burly innovation. — i H. IV., v. i. 
 
INDIRECT PRAISE OF CHARACTER. 4^5 
 
 In the following two passages there are indications of peculiar dress, 
 badge, or other distinctive peculiarity, marking persons who approach ; 
 and recognized before the wearers come near enough for their identity 
 to be clearly discerned : — 
 
 Here comes tivo of the house of the Montagues.* — R. &• Jul., i. i. 
 
 Macduff. See, who comes here ? 
 
 Malcolm. My countryman; but yet I know him not. — Macb., iv. 3. 
 
 By the Scottish tartan dress worn by Rosse, the prince recognizes 
 him for a compatriot ; but does not know him individually until he 
 comes close. 
 
 In the following passage, the dramatist draws attention to the 
 change of manner in Edgar when he drops the Bedlam beggar's dic- 
 tion, and assumes one which he may pass off afterwards as that of 
 " some fiend " supposed to have possessed " Poor Tom " : — 
 
 Gloster. . Methinks thy voice is alter'd ; and thou speak' st 
 In better phrase and matter than thou didst. — Lear, iv. 6. 
 
 INDIRECT PRAISE OF CHARACTER. 
 
 Shakespeare has an adroit waj' of putting description and praise of 
 character into the mouths of other personages in the drama ; and some- 
 times, with enhanced effect, into the mouth of a person unfriendly to 
 the one involuntarily or reluctantly praised. The dramatist himself has 
 a passage illustrative of this point : — 
 
 But what the repining enemy commends, 
 
 That breath fame blows ; that praise, sole pure, transcends. — Tr. &• Cr., i. 3. 
 
 Angela. . . What 's this, what 's this ? Is this her fault or mine ? 
 The tempter or the tempted, who sins most, ha ? 
 Not she : nor doth she tempt : but it is I, 
 That, lying by the violet in the sun. 
 Do, as the carrion does, not as the flower. 
 Corrupt with virtuous season. — M.for M., ii. 2. 
 Do7i Pedro. And Benedick is not the unhopefuUest husband that I know. Thus far 
 can I praise him ; he is of a noble strain, of approved valour, and confirmed honesty. — 
 M. Ado, ii. 1. 
 
 Oliver. . . I hope I shall see an end of him ; for my soul, yet I know not why. 
 hates nothing more than he. Yet he 's gentle ; never schooled, and yet learned ; full of 
 noble device ; of all-sorts enchantingly beloved. — As You L., i. i. 
 
 Polixenes. This is the prettiest low-born lass that ever 
 Ran on the green sward : nothing she does or seems 
 But smacks of something greater than herself. 
 Too noble for this place. — W. T., iv. 3. 
 
 Florizel. Old sir, / know 
 
 She prizes not such trifles as these are : 
 The gifts she looks from me are pack' d and lock'd 
 Up in my heart. — Ibid., iv. 3. 
 
 * The Montague faction wore a token in their hats, to distinguish them from their 
 rivals, the Capulets. 
 
4i6 THE SHAKESPEARE KEY. 
 
 lago. . . . The Moor is of a free and open nature 
 That thinks men honest that but seem to be so. — 0th., i. 3. 
 
 lago- . . . The Moor — howbeit I endure him not — 
 Is of a constant, loving, noble nature. — Ibid., ii. i. 
 Cassio. She 's a most exquisite lady, 
 lago. And I '11 warrant her. full of game. 
 Cassio. Indeed, she is a most fresh and delicate creature, 
 lago. What an eye she has ; methinks it sounds a parley of provocation. 
 Cassio. An inviting eye ; and yet methinks right modest, 
 lago. And when she speaks, is it not an alarum to love ? 
 Cassio. She is, indeed, perfection. — Ibid., ii. 3. 
 lago. . . . She is of so free, so kind, so apt, so blessed a disposition, that she holds 
 it a vice in her goodness, not to do more than she is requested. . . 'Tis most easy 
 the inclining Desdemona to subdue in any honest suit : she 's framed as fruitful as the 
 free elements. — Ibid., ii. 3. 
 
 Othello. . . . O, the world hath not a sweeter creature : she might lie by an 
 emperor's side, and command him tasks. . . . So delicate with her needle ! An admirable 
 musician ! 0, she will sing the savngcncss out of a bear ! Of so high and plenteous ait 
 and invention ! . . . And then of so gentle a condition ! — Ibid., iv. i. 
 Othello. Come, swear it, damn thyself; 
 
 Lest, being like one of Heaven, the devils themselves 
 Should fear to seize thee. . . . O thou weed, 
 Who art so lovely fair, and smell' st so sweet. 
 That the sense aches at thee. . . . 
 Was this fair paper, this most goodly book, 
 Made to write whore upon ? — Ibid., iv. 2. 
 
 Belarius. . . . This youth, howe'er distress'd, appears he hath had 
 Good ancestors. 
 Arviragus. How angel-like he sings I 
 
 Guiderius. But his neat cookery ! he cut our roots in characters. 
 And sailed our broths, as Juno had been sick. 
 And he her dieter. 
 
 Arviragus. Nobly he yokes 
 A smiling with a sigh. — as if the sigh 
 Was that it was. for not being such a smile ; 
 The smile mocking the sigh, that it would fly 
 From so divine a temple, to commix 
 With winds that sailors rail at. — Cym., iv. 2. 
 
 Posthumus. . . Gods ! if you 
 
 Should have ta'en vengeance on my faults, I never 
 Had liv'd to put on this : so had you saved 
 The noble Imogen to repent : and struck 
 Me, wretch, more worth your vengeance. ... So I '11 die 
 For thee, Imogen ! even for whom my life 
 Is, every breath, a death. — Ibid., v. i. 
 
 Lucius. . . . This one thing only 
 I will entreat : my boy, a Briton born, 
 Let him be ransom'd ; never master had 
 A page so kind, so duteous, diligent, 
 So tender over his occasions, true. 
 So feat, so nurse-like : let his virtue join 
 With my request. — Ibid., v. 5. 
 
 Arviragus. One sand another 
 
 Not more resembles that sweet rosy lad 
 Who died, and was Fidele. What think you ? 
 
 Guiderius. The same dead thing alive. 
 
 Belarius. Peace, peace ; see farther ; he eyes us not ; forbear ; 
 Creatures may be alike : were 't he, I am sure 
 He would have spoke to us. — Ibid., v. 5. 
 
IRONICAL PHRASES. 417 
 
 lachimo. . . . the good Posthuimis 
 
 (What should I say ? he was too good to be 
 Where ill men were ; and was the best of all 
 Amongst the rarest of good ones). . . . This Posthumus 
 {Most like a noble lord in love, and one 
 That had a royal lover) took his hint ; 
 And, not dispraising whom we prais'd {therein 
 He was as calm as virtue), he began 
 His mistress' picture . . . He, true knight. 
 No lesser of her honour confident 
 Than I did truly find her, stakes this ring ; 
 And would so, had it been a carbuncle 
 Of Phcebus' wheel ; and might so safely, had it 
 Been all the worth of his car. Away to Britain 
 Post I in this design : well may you, sir. 
 Remember me at court ; where I was taught. 
 Of your chaste daughter, the wide difference 
 'Twixt amorous and villanous. . . . 
 ... I return 'd with simular proof enough 
 To make the noble Leonatus mad. — Cym., v. 5. 
 
 IRONICAL PHRASES. 
 
 Shakespeare has some sentences of irony, or ironically expressed : — 
 
 Words against me ! This' a good friar, belike. — M.for M., v. i. 
 Good Master Mustard-seed, / know your patience well. — Mid. N. D., iii. i. 
 He knows me, as the blind man knows the cuckoo. 
 By the bad voice. — Mer. of V., v. i. 
 Thou tell 'st me there is murder in mine eye : 
 'Tis pretty, sure, and very probable, 
 That eyes — that are the frail'st and softest things. 
 Who shut their coward gates on atomies — 
 
 Should be call'd tyrants, butchers, murderers! — As You L., iii. 5. 
 Your gifts are so good, here 's none will hold you. — Tam. of S.,\. i. 
 Here's no knavery! see, to beguile the old folks, how the young folks lay their heads 
 together. — Ibid., i. 2. 
 
 / play the noble housewife with the time. 
 To entertain it so merrily with a fool. — All's W., ii. 2. 
 There was excellent command — to charge in with our horse upon our own wings, and 
 to rend our own soldiers ! — Ibid., iii. 6. 
 
 What wisdom stirs amongst you ? Come, sir. — W. T., ii. i. 
 I know how much an ounce. — Very wisely, puppies! — Ibid., iv. 3. 
 Bullets on this town. — 0, prudent discipline! — jfohn, ii. 2. 
 Here 's a good world ! Knew you of this fair work ? — Ibid., iv. 3. 
 Well you deserve : they well deserve to have. 
 That know the strong st and surest way to get. — R. II., iii. 3. 
 There 's honour for you ! Here 's no vanity ! — i H. IV., v. 3. 
 
 Ay, or more than we should seek after ; for we know enough, if we know we are the 
 king's subjects ; if his cause be wrong, our obedience to the king wipes the crime of it out 
 of us. — H. v., iv. I. 
 
 I will never trust his word after. — You pay him then! That's a perilous shot out of 
 an elder gun, that a poor and a private displeasure can do against a monarch '. — 
 Ibid., iv. I. 
 
 Injurious duke, that threat's! where is no cause. — 
 
 True, madam, none at all : what call you this ? — 2 H. VI., i. 4. 
 
 2 E 
 
4iS THE SHAKESPEARE KEY. 
 
 'Tis meet that lucky ruler be employ 'd ; 
 
 Witness the fortune he hath had in France. — 2 H. VI., iii. i. 
 
 Full well hath Clifford played the orator. 
 
 Inferring arguments of mighty force. — 3 H. VI., ii. 2. 
 
 Here 's a good world the while ! Who is so gross. 
 That cannot see this palpable device ? — R. III., iii. 6. 
 
 A proper title of a peace; and purchas'd 
 At a superfluous rate! — H. VIII., i. i. 
 
 Our count-cardinal has done this, and 'tis well ; for worthy Wolsey, who cannot err. 
 he did it. — Ibid., i. i. 
 
 With all their honourable points of ignorance 
 Pertaining thereunto (as fights and fireworks ; 
 Abusing better men than they can be. 
 Out oi a foreign wisdom). — Ibid., i. 3. 
 
 How holily he works in all his business ! 
 
 And with what zeal ! . . . 
 
 . . . And is not this conrse pious .' — Ibid., ii. 2. 
 
 This priest has no pride in him. — Not to speak of. — Ibid., ii. 2. 
 
 Follow your envious courses, men of malice ; 
 
 You have Christian warrant for them. — Ibid., iii. 2. 
 
 Whilst your great goodness, out of holy pity, 
 Absolv'd him with an axe. — Ibid., iii. 2. 
 
 Yes, that goodness. 
 Of gleaning all the lands' wealth into one. 
 Into your own hands, cardinal, by extortion ; 
 The goodness of your intercepted packets, 
 You writ to the pope, against the king : your goodness. 
 Since you provoke me, shall be most notorious. — Ibid., iii. 2. 
 
 Tied all the kingdom : simony was fair play. — Ibid., iv. 2. 
 
 You are always my good friend ; if your will pass, 
 I shall both find your lordship judge and juror. 
 You art so merciful. — Ibid., v. 2. 
 
 Where are these porters. 
 These lazy knaves ? Ye have made a fine hand, fellows ; 
 There 's a trim rabble let in : are all these 
 Your faithful friends o' the suburbs ? V/e shall have 
 Great store of room, no doubt, left for the ladies. 
 When they pass back from the christening. — Ibid., v. 3. 
 
 Care for us ! True, indeed! they ne'er cared for us yet. — Corioi.. i. i. 
 
 That envied his receipt; even so most ftly 
 As you malign our senators for that 
 They are not such as you. — Ibid., i. i. 
 
 Take my prayers with you. 
 I would the gods had nothing else to do. 
 But to confirm my curses. — Ibid., iv. 2. 
 
 Now, sir, is your name IVTenenius ? — 
 Tis a spell, you see, of much power : you know the way home again. — Do you hear 
 hoiD we are shentfor keeping your greatness back ? — Ibid., v. 2. 
 
 But, an you will not wed, / 'II pardon you. — R. &• J ill., iii. 5. 
 
 Flow this way ! A brave fellow ! he keeps his tides ivell. — Tinion, i. 2. 
 
 I feel my master's passion 1 this slave 
 
 Unto his honour has my master's meat in him. — Ibid., iii. :. 
 
 O proper stuff ! 
 This is the very painting of your fear. — Macb., iii. 4. 
 
IRONICAL PHRASES. 4^9 
 
 Who cannot want the thought, how monstrous 
 
 It was for Malcolm and for Donalbain 
 
 To kill their gracious father ? damned fact ! 
 
 How it did grieve Macbeth ! did he not straight, 
 
 In pious rage, the two delinquents tear. 
 
 That were the slaves of drink, and thralls of sleep ? 
 
 Was not that nobly done ? Ay, and wisely too. — Macb., iii. 6. 
 
 That I essentially am not in madness. 
 
 But mad in craft. 'Twere good, you let him know ; 
 
 For who, that 's but a queen, fair, sober, wise. 
 
 Would from a paddock, from a bat, a gib. 
 
 Such dear concernings hide ? who would do so ? 
 
 No, in despite of sense and secrecy. 
 
 Unpeg the basket on the house's top, 
 
 Let the birds fly, and, like the famous ape, 
 
 To try conclusions, in the basket creep, 
 
 And break your own neck down. — Hamlet, iii. 4. 
 This is the excellent foppery of the world, that, when we are sick in fortune (often the 
 surfeit of our own behaviour), we make guilty of our disasters, the sun, the moon, and 
 the stars ; as if we were villains by necessity. — Lear, i. 2. 
 
 I 11 not be struck, my lord. — Nor tripped neither, you base football-player. — 
 Ibid., i. 4. 
 
 'Tis politic and safe to let him keep 
 
 At point a hundred knights : yes, that, on every dream. 
 
 Each buz, each fancy, each complaint, dislike. 
 
 He may enguard his dotage with their powers, 
 
 And hold our lives in mercy. — Ibid., i. 4. 
 
 Got praises of the king 
 
 For him attempting who was self-subdu'd ; 
 
 And, in the fieshment of this dread exploit. 
 
 Drew on me here again. — Ibid., ii. 2. 
 
 .\ woman's shape doth shield thee. — 
 Marry, your manhood now ! — Ibid., iv. 2. 
 
 'Tis meet I should be us'd so, very meet. 
 
 How have I been behav'd, that he might stick 
 
 The small'st opinion on my least misuse ? — 0th., iv. 2. 
 
 Your mother too : she 's my good lady ; and will conceive. 
 I hope, but the worst of me. — Cym., ii. 3. 
 
 This is her honour ! 
 Let it be granted you have seen all this (and praise 
 Be given to your remembrance) , the description 
 Of what is in her chamber nothing saves 
 The wager you have laid. — Ibid., ii. 4. 
 
 And he has some sentences spoken as what might be said, or 
 suggested to be said : — 
 
 That shall not be much amiss : yet, as the matter now stands, he will avoid your 
 accusation ; he made trial of you only. — M.for M., iii. i. 
 
 And we understand him well. 
 How he comes o'er us with our wilder days, 
 Not measuring what use we made of them. 
 We never valu'd this poor seat of England ; 
 And therefore, living hence, did give ourself 
 To barbarous licence ; as 'tis ever common 
 That men are merriest when they are from home.—H. V., i. 2. 
 
 I will go meet them : and, my lord jEneas, 
 
 We met by chance ; you did not find me here. — Tr. &• Cr., iv. 2. 
 
 2 E 2 
 
4--!o THE SHAKESPEARE KEY. 
 
 This is some fellow, 
 Who, having been prais'd for bluntness, doth affect 
 A saucy roughness, and constrains the garb 
 Quite from his nature; he cannot flatter, he — 
 Ah honest mind and plain— he must speak truth ! 
 An they will take it, so; if not, he's plain. — Lear, ii. 2. 
 See where he is, who 's with him, what he does : 
 / did not send you : if you find him sad. 
 Say I am dancing: if in mirth, report 
 That I am sudden sick. — Ant. &• C, i. 3. 
 Then was the time for words : no going then : 
 Eternity was in our lips and eyes. 
 Bliss in our brows' bent ; none our parts so poor. 
 But was a race of heaven : they are so still. 
 Or thou, the greatest soldier of the world. 
 Art turn'd the greatest liar. — Ibid., i. 3. 
 Cassar ? Why, he 's the Jupiter of men. — 
 What 's Antony ? The god of Jupiter. — 
 Spake you of Caesar ? Hoo ! the nonpareil ! — 
 
 Antony ! Oh, thou Arabian bird I — 
 
 Would you praise Ccesar, say, " Ccesar" — go no farther. — 
 
 Indeed, he plied them both with excellent praises. — 
 
 But he loves Csesar best ; — yet he loves Antony : 
 
 Hoo! hearts, tongues, figures, scribes, bards, poets, cannot 
 
 Think, speak, cast, write, sing, number — hool — 
 
 His love to Antony. But as for Ccesar, 
 
 Kneel down, kneel down, and wonder. — Ibid., iii. 2. 
 
 Lo, here she comes. 
 / am ignorant in what I am commanded. — Cym., iii. 2. 
 
 Some jay of Italy, 
 Whose mother was her painting, hath betray'd him : 
 Poor I am stale, a garment out of fashion ; 
 And, for I am richer than to hang by the walls, 
 
 1 must be ripp'd : — to pieces with me ! — Ibid., iii. 4. 
 
 In the following passages Shakespeare has some ironical compli- 
 ments, or complimentary expressions mockingly applied : — 
 How now, noble Pompey I . . . Adieu, trusty Pompey .—:M . for M., iii. 2. 
 Princes and counties ! surely, a princely testimony, a goodly count, Count Confcct ; a 
 sweet gallant, surely ! — M. Ado, iv. i. 
 
 noble fool ! A worthy fool ! Motley's the only wear. — As You L.. ii. 7. 
 
 And art, indeed, the most comparative, rascallest,szei«cijoMKg'^n«cc. — i H. IV., i. 2. 
 
 How now, my sweet creature of bombast ! — Ibid., ii. 4. 
 
 O, my sweet beef, I must still be good angel to thee.—Ibid., iii. 3. 
 
 Well said, i' faith. Wart ; thou 'rt a good scab.— 2 H. IV., iii. 2. 
 
 Before we met, or that a stroke was given, 
 
 Like to a trusty squire, did run away. — i H. VI., iv. i. 
 
 Yet god Achilles still cries, " Excellent ! " — Tr. &■ Cr., i. 3. 
 
 Good night, sweet lord Menelaus. — 
 
 Sweet draught : sweet, quoth'a ! sweet sink, sweet sewer. — Ibid., v. i. 
 
 That there should be small love 'mongst these sweet knaves, 
 
 And all this courtesy ! — Timon, i. i. 
 
 'Tis a noble Lepidus. — A very fine one. — Ant. &• C, iii. 2, 
 
 Still going ? This is a lord ! noble misery. 
 
 To be i' the field, and ask, what news, of me ! — Cytn., v. 3. 
 
 And in the following passage he has an ironical simile : — 
 That 's done ; as near as the extremes! ends 
 Of parallels ; as like as Vulcan and his wife. — Tr. &■ Cr., i. 3. 
 
ITALIAN IDIOM. 4^1 
 
 ITALIAN IDIOM. 
 
 Shakespeare occasionally uses a peculiar idiomatic phraseology 
 similar to that employed in the Italian language. He sometimes thus 
 transposes the adjective and the pronoun in a phrase : — 
 
 Dear my brother, let him that was the cause. — W. T., v. 3. 
 
 Then, dear my liege, mine honour let me try. — R. II., i. i. 
 
 Dear my lord, make me acquainted with your cause of grief. — jfiil. C, ii. 1. 
 
 Dear my lord, be not familiar with her. — Lear, v. i. 
 
 Dread my lord, your leave and favour to return. — Hamlet, i. 2. 
 
 Gentle my lord, you scarce can right me thoroughly then. — W. T., ii. 1. 
 
 Gentle my lord, sleek o'er your rugged looks. — Macb., iii. 2. 
 
 Good my lord, give me thy favour still. — Temp., iv. i. 
 
 Here, good my glass, take this for telling true. — Love's L. L., iv. i. 
 
 Good my mouse of virtue, answer me. — Tw. N., i. 5. 
 
 Then, good my mother, let me know my father. — John, i. i. 
 
 Thanks, good my countryman. — H. V., iv. 7. 
 
 The Countess of Richmond, good my lord of Stanley. — R. III., i. 3. 
 
 Good my brother Troilus, tell you the lady. — Tr. &• Cr., iv. 3. 
 
 I beg of you to know me, good my lord. — Timon, iv. 3. 
 
 But, good my brother, do not, as some. — Hamlet, i. 3. 
 
 Good my liege, — Peace, Kent \^Lear, i. i. 
 
 Do, good my friend. In happy time, lago. — 0th., iii. i. 
 
 Good my liege, theday that she was missing. — Cym., iv. 3. 
 
 Good my lord of Rome, call forth your soothsayer. — Ibid., v. 5. 
 
 Gracious my lord, you know your father's temper. — W. T., iv. 3. 
 
 Gracious my lord, hard by here is a hovel. — Lear, iii. 2. 
 
 Accept it and wear it, kind my lord. — Timon, i. 2. 
 
 Ah, poor my lord, what tongue shall smooth thy name. — R. &• Jul., iii. 2. 
 
 I pray thee, Rosalind, sweet my coz, be merry. — As You L., i. 2. 
 
 O, sweet my mother, cast me not away! — R. &• Jul., iii. 5. 
 
 Sometimes he thus transposes the noun and the pronoun : 
 You brother mine, that entertain'd ambition. — Temp., v. i. 
 O mistress mine, where are you roaming? — Tw. N., ii. 3 (Song). 
 Lady mine, proceed. — H. VIII., i. 2. 
 
 Sometimes he thus uses a demonstrative pronoun and a possessive 
 pronoun together : — 
 
 Notwithstanding that your bond of duty. — Ibid., iii. 2. 
 
 Handiest in thy discourse, oh, that her hand. 
 
 In whose comparison all whites are ink. — Tr. &• Cr., i. i. 
 
 Thou know'st that we two went to school together : 
 
 Even for that our love of old, I pray thee. — Jul. C, v. 5. 
 
 Thy demon — that thy spirit which keeps thee — is 
 
 Noble, courageous, high, unmatchable. — Ant. &• C, ii. 3. 
 
 And threats the throat of thai his officer 
 
 That murder'd Pompey. — Ibid., iii. 5. 
 
 Draw that thy honest sword, which thou hast worn. — Ibid., iv. 12. 
 
 Praise her but for this her without-door form. — W. T., ii. i. 
 
 This your sheep-shearing is as a meeting. — Ibid., iv. 2. 
 
 This your air of France hath blown that vice in me. — H. V., iii. 6. 
 
422 THE SHAKESPEARE KEY. 
 
 If I should tell thee o'er this thy day's work. — CorioL, i. g. 
 
 Trebonius doth desire you to o'er-read, 
 
 At your best leisure, this his humble suit. — ytil. C, iii. i. 
 
 No ; this my hand will rather the multitudinous seas incarnardine, — Macb., ii. 2. 
 
 May soon return to this our suffering country. — Ibid., iii. 6. 
 
 Forgive me this my virtue ; for in the fatness. — Hamlet, iii. 4. 
 
 And this her son cannot take two from twenty. — Cym., ii. i. 
 
 These your unM&yial weeds. — W. T., iv. 2. 
 
 And those our droplets which from niggard nature fall. — Timon, v. 5. 
 
 Do you misdoubt this sword, and these my wounds '>—Ani. &• C, iii. 7. 
 
 To be full quit of those my banishers. — CorioL, iv. 5. 
 
 Of half that worth as those your swords, made rich. — yid. C, iii. i. 
 
 Would thou, and those thy scars, had once prevail'd. — Ant. & C, iv. 5. 
 
 In feeding them with those my former fortunes. — Ibid., iv. 13. 
 
 Sometimes he thus uses the word " so " : — 
 You, that have turn'd off a first so noble wife. — AWs W., v. 3. 
 From whose so many weights of baseness cannot 
 A dram of worth be drawn. — Cym., iii. 5. 
 Who may, haply, be a little angry for my so rough usage. — Ibid., iv. i. 
 
 Sometimes he thus uses the word " one " : — 
 I met a courier, one mine ancient friend. — Timon, v. 2. 
 .\nd he is one the truest manner'd. — Cym., i. 7. 
 
 Sometimes, thus, the word " other " : — 
 
 Is much o' the favour of other your new pranks. — Lear, i. 4. 
 
 Sometimes, thus, the word " some " : — ■ 
 
 That I have said to some my standers-by. — Tr. &• Cr., iv. 5. 
 
 Sometimes, thus, the word " every " : — 
 
 Single I'll resolve you . . . oi every these happen'd accidents. — Temp., v. i. 
 
 Sometimes, thus, the word " many " : — 
 
 An earnest inviting, which many my near occasions did urge me to put off. — Timon, 
 iii. 6. 
 
 Sometimes, thus, the word " poor " : — 
 
 Bequeathed me by will but poor a thousand crowns, and, as thou sayest, charged my 
 brother. — As You L., i. i. 
 
 Ah! poor our sex! this fault in us I find. — Tr. &• Cr., v. 2. 
 
 Ah ! poor my lord ! what tongue shall smooth thy name. — R. &> yul., iii. 2. 
 
 What poor an instrument may do a noble deed ! — Ant. &• C, v. 2. 
 
 It will be perceived that the Italians, in such phrases as caro mio 
 fratello, signora mia, quella sua mano, questa mia mano, uno mio antico 
 ainico, povero. nostra sesso, use precisely similar idiomatic forms of 
 phraseology to some among those which we have here collected as used 
 by Shakespeare. 
 
 ITERATED WORDS. 
 
 Shakespeare occasionally employs an iterated word or short phrase 
 with excellent effect, to express various impulses, moods or conditions 
 of feeling, and, sometimes, to express earnestness : — 
 
ITERATED WORDS. 423 
 
 I have done nothing but in care of thee 
 
 (Of thee, my dear one ! thee, my daughter !). — Temp., i. 2. 
 Come, 'WOO me, woo me ; ' for now I am in a holiday humour, and like enough to 
 consent. What would you say to me now, an I were your very very Rosalind. — 
 As You L., iv. I. 
 
 There is no tongue that moves, none, none i' the world. 
 
 So soon as yours, could move me. — W. T., i. 2. 
 
 Good Hubert, Hubert, Hubert, throw thine eye 
 
 On yond' young boy, — John, iii. 3. 
 
 This land of such dear souls, this dear, dear land, 
 
 Dear for her reputation through the world. — R. II., ii. i. 
 Not to-day, O Lord, 
 
 Oh, not to-day, think not upon the fault. 
 
 My father made in compassing the crown ! — H. V., iv. i. 
 
 A very little little let us do, and all is done. — Ibid., iv. 2. 
 
 Gods, gods I 'tis strange, that from their cold'st neglect 
 
 My love should kindle to inflam'd respect. — Lear, i. i. 
 
 These are portents ; but yet, / hope, I hope. 
 
 They do not point on me. — 0th., v. 2. 
 
 The Jove of power make me, most weak, most weak. 
 
 Your reconciler I — Ant. &• C, iii. 4. 
 
 Even to thy pure and most most loving breast. — Sonnet ex. 
 
 Sometimes to express eagerness or impatience : — 
 
 What, 'ivhat, what ? ill luck ? ill luck .> . . . Is it true ? is it true ? — Mer. of V., iii. i. 
 Possess us, possess us ; tell us something of him. — Tw. N., ii. 3. 
 Go, after, after, cousin Buckingham.— i?. ///., iii. 5. 
 How now, how now 1 what say the citizens ? — Ibid., iii. 7, 
 What, what, what ? let 's partake, . . . Wherefore ? wherefore ? . . 
 They are rising, they are rising. In, in, in, in. — Coriol., iv. 5. 
 Nay, come, I pray thee, speak ; good, good nurse, speak. . . . 
 Sweet, sweet, sweet nurse, tell me, what says my love ? — R. &* yul., ii. 5. 
 Bind him, I say. — Hard, hard. filthy traitor ! — Lear, iii. 7. 
 
 well-divided disposition ! Note him. 
 
 Note him, good Cliarmian, 'tis the man ; but note him. — Ant. &• C, i. 5. 
 Go hang, sir, hang ! Tell me of that ? away ! — Ibid., ii. 7. 
 But why, why, why? . . . Well, is it, Is it.' — Ibid., iii. 7. 
 
 Sometimes to express exultation : — 
 Freedom, hey-day! hey-day, freedom ! freedom I hey-day, freedom !. — Temp., ii. 2. 
 
 1 thank God ! I thank God ! . . . Good news, good news ! . . . I am very glad of 
 it: I'll plague him; I'll torture him: / am glad of it. . . . Nay, that's true, that's 
 very true. — Mer. of V., iii. i. 
 
 Sometimes to express vehement emotion : — 
 
 Whv, there, there, there, there ! a diamond gone, cost me two thousand ducats in 
 Frankfort.— /iid., iii. i. 
 
 You are forsworn, forsworn . . . Arm, arm, you Heavens, against these perjur'd 
 kings. . . . Hear me J O, hear me 1 . . . War! war! no peace! peace is to me a war ! 
 — yohn, iii. i. 
 
 Lo, now ! now see the issue of your peace ! . . . Death, death : O, amiable lovely 
 death .' ... I am not mad ; too well, too well I feel the different plague of each 
 calamity. — Ibid., iii. 4. 
 
 ' In this passage there is the assumed playful manner thinly veiling the real 
 earnestness beneath. 
 
424 THE SHAKESPEARE KEY. 
 
 It is the cause, it is the cause, my soul — 
 
 Let me not name it to you, you chaste stars ! — 
 
 It is the cause. Yet I '11 not shed her blood. — 0th., v. 2. 
 
 'Tu-ill out, 'twill out : I hold my peace, sir ? no ; 
 
 I '11 be in speaking liberal as the air : 
 
 Let heaven, and men, and devils, let them all. 
 
 All, all, cry shame against me, yet I '11 speak. — Ibid., \. 2. 
 
 By Heaven, I do not, I do not, gentlemen. — Ibid., v. 2. 
 
 Sometimes to express passionate emotion : — 
 
 Instance, instance! strong as Pluto's gates; 
 
 Cressid is mine, tied with the bonds of Heaven : 
 
 Instance, instance! strong as Heaven itself; 
 
 Tlie bonds of Heaven are slipp'd, dissolv'd, and loos'd. — Tr. &= Cr., v. 
 
 For fear of that, I still will stay with thee ; 
 
 And never from this palace of dim night 
 
 Depart again : here, here will I remain 
 
 With worms that are thy chambermaids ; oh. here 
 
 Will I set up my everlasting rest. — R. &• Jul., v. 3. 
 
 Sometimes to express mournful emotion : — 
 
 To-day, to-day, unhappy day too late, 
 
 O'erthrows thy joys, friends, fortune, and thy state. — R. II., iii. 2. 
 
 Too well, too well, thou tell'st a tale so ill. — Ibid., iii. 2. 
 
 And my large kingdom for a little grave, 
 
 A little little grave, an ohscViTe grave. — Ibid., iii. 3. 
 
 To-morrow, and to-morrow, and to-morrow. 
 
 Creeps in this petty pace from day to day. 
 
 To the last syllable of recorded time ; 
 
 And all our yesterdays have lighted fools 
 
 The way to dusty death. Out, out, brief candle ! — Macb., v. 3. 
 
 that this too too solid flesh would melt. 
 
 Thaw, and resolve itself into a dew ! . . . God ! God ! 
 How weary, stale, flat, and unprofitable 
 Seem to me all the uses of this world ! 
 Fie on 't ! fie ! 'tis an unweeded garden 
 That grows to seed. — Hamlet, i. 2. 
 You cannot, sir, take from me anything that I will more willingly part withal- 
 except my life, except my life, except my life. — Ibid., ii. 2. 
 
 How is 't ? Feel you your legs ? You stand. — 
 Too well, too well. — Lear, iv. 6. 
 Still, still, far wide. — Ibid., iv. 7. 
 
 1 am dying, Egypt, dying. — Ant. &• C, iv. 13. 
 
 Sometimes to express passionate regret and anguish :* — 
 Stars, stars, and all eyes else dead coals ! — II'. T., v. i. 
 God ! God ! that e'er this tongue of mine, 
 That laid the sentence of dread banishment 
 On yond' proud man, should take it off again 
 With words of sooth ! — R. II., iii. 3. 
 
 Howl, howl, howl, howl ! O, you are men of stones. . . . 
 A'o. «o, KO life ! . . . Thou 'It come no more, never, never, never, never, never !- 
 Lear, v. 3. 
 
 • As Milton does in the exquisite two lines from ■' Lycidas " : — 
 " But, O the heavy change, now thou art gone. 
 Now thou art gone, and never must return ! " 
 
ITERATED WORDS. 4^5 
 
 O my dear Cassio ! my sweet Cassio ! 
 
 Cassio, Cassio, Cassio I . . . 
 
 Alas, he faints ! O Cassio, Cassio, Cassio ! — 0th., v. i. 
 
 Ofool ! fool ! fool i—Ibid., v. 2. 
 
 Posthumus ! alas, 
 Where is thy head ? where' s that? Ah me! where' s that? 
 Pisanio might have kill'd thee at the heart, 
 And left this head on. — Cym., iv. 2. 
 
 Sometimes to express solemn feeling : — 
 
 More needs she the divine than the physician : 
 God, God forgive us all ! — Macb., v. i. 
 
 Sometimes to express bitter feeling : — 
 
 Down, down I come ; like glistering Phaeton, 
 
 Wanting the manage of unruly jades. 
 
 In the base court ? Base court, where kings grow base. 
 
 To come at traitors' calls, and do them grace. 
 
 In the base court ? Come down ? Down, court, down, king ! — R. 11., iii. 3. 
 
 Sometimes to express sarcastic emphasis : — 
 
 But from the inward motion to deliver 
 
 Su:cet, sweet, sweet poison for the age's tooth. — -yohn, i. i. 
 
 Up, cousin, up ; your heart is uj>, I know. — R. II., iii. 3. 
 
 .1/v lord, my lord, I am a simple woman. — H. VIII., ii. 4. 
 
 My tables — meet it is I set it down, 
 
 That one may smile, and smile, and be a villain. — Hamlet, i. 5. 
 
 Sometimes to express ironical affirmation : — 
 
 We are not safe, Clarence ; we are not safe.-^R. III., i. i. 
 
 But I shall live, my lord, to give them thanks. 
 
 That were the cause of my imprisonment. — 
 
 No doubt, no doubt : and so shall Clarence too. — Ibid., i. i. 
 
 Sometimes to express emphatic and impressive affirmation : — 
 
 Richard yet lives, hell's black intelligencer ; 
 
 Only reserv'd their factor, to buy souls. 
 
 And send them thither : but at hand, at hand. 
 
 Ensues his piteous and unpitied end. — Ibid., iv. 4. 
 
 Perjury, perjury, in the highest degree; 
 
 Murder, stern murder, in the dir'st degree ; 
 
 All several sins, all us'd in each degree. 
 
 Throng to the bar, crying all — Guilty ! guilty ! — Ibid., v. 3. 
 
 Sometimes used to express desperation : — 
 
 Naught, naught, all naught ! I can behold no longer : 
 
 The Antoniad, the Egyptian admiral. 
 
 With all their sixty, fly, and turn the rudder : 
 
 To see 't mine eyes are blasted. — Ant. &• C, iii. 8. 
 
 Sometimes to express awe : — 
 
 But never till to-night, never till now, 
 Did I go through a tempest dropping fire. — ytd. C, i. 3. 
 If thou hast any sound, or use of voice. 
 
 Speak to me . . . speak to me ... 0, speak ! . . . speak of it : stay, and spcnk .' 
 -Hamlet, i. i. 
 
 Sometimes to express agitation : — 
 
 My lord the king, the king ! — W. T., iii. 2. 
 Now, now, I have not winked since I saw these sights. — Ibid., iii. 3. 
 
426 THE SHAKESPEARE KEY. 
 
 I know not, madam : 'tis too bad, too bad. — Lear, ii. i. 
 
 Why, why is this ? think'st thou I 'd make a life of jealousy. — 0th., iii. 3. 
 
 I see, this hath a little dash'd your spirits. — 
 
 Not a jot, not a jot. — Ibid., iii. 3. 
 
 Sometimes to express sobbing : — 
 
 O lords. 
 When I have said, cry woe ! the queen, the queen. 
 The sweet'st, dear'st creature 's dead. — W. T., iii. 2. 
 
 Do not laugh at me ; 
 For, as I am a man, I think this lady 
 To be my child Cordelia. — 
 
 And so / am, I am. . 
 You have some cause, they have not. — 
 
 No cause, no cause. — Lear, iv. 7. 
 
 Sometimes to express ebbing breath, in dying : — ■ 
 
 Do you see this ? Look on her — look — her lips — 
 
 Look there, look there! — [Dies.] — Ibid., v. 3. 
 
 In speaking as I think, I die — / die.— [Dies.] — 0th., v, 2. 
 
 A master-leaver and a fugitive. 
 
 O Antony ! O Antony !—[Dics.'\ — Ant. &• C, iv. g. 
 
 Sometimes to express physical impressions : — 
 
 Now, now, now, now ; 
 Pull off my boots : harder, harder : so. — Lear, iv. 6. 
 
 Sometimes to express wildness of manner : — 
 
 What do you read, my lord ? 
 
 Words, words, words. — Hamlet, ii. 2. 
 
 How does your honour for this many a day ? — 
 
 I humbly thank you ; well, well, well. — Ibid., iii. i. 
 
 Mother, mother, mother ! — Ibid., iii. 4. 
 
 On him, on him ! Look you, how pale he glares ! — Ibid., iii. 4. 
 
 Why, look you there ! look, how it steals away ! 
 
 My father, in his habit as he liv'd ! 
 
 Look, where he goes, even now, out at the portal ! — Ibid., iii. 4. 
 
 Sometimes as an impressive exclamation : — 
 
 List, list, O, list I If thou didst ever thy dear father love. — Ibid., i. 3. 
 0, horrible ! O horrible ! most horrible. — Ibid., i. 5. 
 
 Sometimes in pathetic appeal : — ■ 
 
 Show you sweet Caasar's wounds, poor foor dumb mouths. 
 And bid them speak for me. — Jul. C, iii. 2. 
 
 Sometimes in pacifying denial or remonstrance : — ■ 
 
 Have you heard any imputation to the contrary ? — 
 Oh, no, no, no, no ; my meaning in saying he is a good man, is to have you under- 
 stand me that he is sufficient. — Mer. of V., i. 3. 
 
 Now the red pestilence strike all trades in Rome, 
 
 And occupations perish ! — 
 
 What, what, what ! I shall be lov'd when I am lack'd. — CorioL, iv. i. 
 
 Sometimes in petulant contradiction ; — 
 
 Why, here 's no crab ; and therefore look not sour. — 
 
 There is, there is. — Tarn. ofS., ii. i. 
 
 He is elder. — 
 
 Pardon me, pardon me. — Tr. 6" Cr., i. 2. 
 
ITERATED WORDS. 427 
 
 Sometimes in pottering inquiry : — 
 
 What 's that, what 's that ? . . . What do you talk of ? . . 
 What were you talking of when I came }^—Tr. &• Cr., i. 2. 
 
 Sometimes, and admirably, as a characteristic of garrulous senility : — 
 
 yustice Shallow. That he will not: His your fault, 'tis your fault : 'tis a good dog. 
 . . . Sir, he 's a good dog, and a fair dog; can there be more said ? Ht: 's good, aud 
 fair. — Merry W., i. i. 
 
 He hath wrong' d me. Master Page. . . . He hath wrong' d me; indeed, he hath ; at a 
 word, he hath; believe me, Robert Shallow, Esquire, saith, /je is wronged. — Ibid., i. i. 
 
 Nay, conceive me, conceive me, sweet coz. — Ibid., i. i. 
 
 'Tis the heart. Master Page ; 'tis here, 'tis here. — Ibid., ii. i. 
 
 Marry, / thank you for it ; / thank you for that good comfort. — Ibid., iii. 4. 
 
 Indeed, Master Ford, this is not well, indeed. — Ibid., iv. 2. 
 
 Justice Shallow. Come on, come on, come on, sir; give me your hand, sir, give me 
 your hand, sir. — 2 H. IV., iii. 2. 
 
 The same. Sir John, the very same . . . and the very same day did I fight with one 
 Sampson Stockfish. — Ibid., iii. 2. 
 
 Certain, 'tis certain; very sure, very sure: death, as the Psalmist saith, is certain 
 to all; all shall die . . . Death is certain . . . Dead! See, see! he drew a good 
 bow ; — and dead! he shot a fine shoot : . . . Dead! . And is old Double dead ! — 
 Ibid., iii. 2. 
 
 It is well said, in faith, sir ; and it is well said indeed, too. Better accommodated ! 
 it is good ; yea., indeed, is it : . . . very good ; a. good phTa.se. — Ibid., ni. 2. 
 
 Give me your good hand, give me your worship's good hand : by my troth, you look 
 well, and bear your years very well ; welcome, good Sir John. — Ibid., iii. 2. 
 
 Where 's the roll ? where 's the roll ? where 's the roll ? Let me see, let me see, let me 
 see : so, so, so, so. Yea, marry, sir ; Ralph Mouldy I let them appear as I call ; let 
 them do so, let them do so. Let me see ; where is Mouldy ? — Ibid., iii. 2. 
 
 Very singular good ! In faith, well said. Sir John ; very well said. — Ibid., iii. 2. 
 
 Ha, ha, ha ! you can do it, sir ; you can do it.— Ibid., iii. 2. 
 
 Nay, she must be old ; she cannot choose but be old ; certain she's old. — Ibid., iii. 2. 
 
 That we have, that we have, that we have ; in faith. Sir John, me have : our watch- 
 word was, "Hem, boys ! " Come, let 's to dinner ; come, let 's to dinner. O the days 
 that we have seen ! Come, come. — Ibid., iii. 2. 
 
 / will not excuse you ; you shall not be excused ; excuses shall not be a.iinitted ; tlicrc 
 is no excuse shall serve ; you shall not be excused. Why, Davy ! . . . Davy, Davy, 
 Davy, Davy, — let me see, Davy ; let me see, Davy ; let me see : yea, marry, William 
 Cook, bid him come hither. Sir John, you shall not be excused. . . . With red wheat. 
 Davy. But for William Cook. . . . Let it be cast, and paid. Sir John, you shall not 
 be excused . . . any pretty little tiny kickshaws, tell William Cook . . . Yea, Davy, 
 I will use him well : a friend i' the court is better than a penny in purse. Use his men 
 well, Davy. . . . Where are you. Sir John ? Come, come, come, off with your boots. 
 . . . Come, Sir John. — Ibid., v. i. 
 
 Barren, barren, barren; beggars all, beggars all. Sir John : marry, good air. Spread. 
 Davy ; spread, Davy : well said, Davy. . . . A good varlet, a good varlet, a very good 
 varlet. Sir John. By the mass, I have drunk too much sack at supper : a good varlet. 
 Now sit down, now sit down : come, cousin. . . . Be merry. Master Bardolph ; and m-,' 
 little soldier there, 6e mcrr)/ . . . Honest. Bardolph, welcome : if thou wantest anything, 
 and wilt not call, beshrew thy heart. Welcome, my little tiny thief; and welcome, 
 indeed, too. . . . Lack nothing : be merry. — Ibid., v. 3. 
 
 It doth so. — . . . it doth so. — . . . It doth, it doth, it doth.* — ... It is most 
 certain. — . . . 'Tis so, indeed. — Ibid., v. 5. 
 
 * The Quarto assigns the three speeches of Shallow, " It doth so," &c., to Pistol ; 
 while the Folio corrects the error in the first instance, though leaving it in the two 
 latter. But we think the mere iteration-suSices to prove that all three speeches belong 
 to Shallow. 
 
428 THE SHAKESPEARE KEY. 
 
 Sometimes as producing humorous effect : — 
 
 There is not a white hair on your face, but should have his effect of gravity. — 
 
 His effect oi gravy, gravy, gravy. — 2 H. IV., i. 2. 
 
 A pick-axe, and a spade, a spade. — Hamlet, v. i {Song). 
 
 Sometimes to express graceful and undulating motion : — 
 
 When you do dance, I wish you 
 A wave o' the sea, that you might ever do 
 Nothing but that; move still, still so, 
 And own no other function. — W. T., iv. 3. 
 
 Occasionally Shakespeare iterates a word, with the addition of an 
 emphatic epithet : — 
 
 Madam, you have done me wrong, notorious wrong. — Tw. N., v. i. 
 And him — O wondrous him ! O miracle of men ! — 2 H. IV., ii. 3. 
 The third day comes a. frost, a killing frost. — H. VIII.. iii. 2. 
 What you have charg'd me with, that have I done ; 
 And more, much more ; the time will bring it out. — Lear, v. 3. 
 This hand, whose touch, whose every touch. — Cym., i. 7. 
 
 IT SEEMS. 
 
 Shakespeare uses this phrase, and a few similar phrases, in a some- 
 what peculiar manner ; sufficiently so to testify that the original read- 
 ing of the First Folio, in the passage below cited from " Romeo and 
 Juliet," is as the author wrote it, and consequently should be retained 
 in the text. The editor of the Second Folio substituted the words "her 
 beauty" for "it seems she"; and since then many editors have 
 adopted the substitution, although there is not the slightest known 
 authority for its having been Shakespeare's writing. Whereas we now 
 collect together several passages in which he uses phrases so closely 
 resembling " it seems she," that we think there can be no doubt these 
 were the words he here employed : — 
 
 Oh, she doth teach the torches to burn bright ! 
 
 It seems she hangs upon the cheek of night 
 
 Like a rich jewel in an Ethiop's ear ; 
 
 Beauty too rich for use, for earth too dear ! — R. &• jftil., i. 5. 
 
 The sky, it seems, would pour down stinking pitch. 
 
 But that the sea, mounting to the welkin's cheek. 
 
 Dashes the fire out. — Tentp., i. 2. 
 
 It seems,h\5 sleeps were hinder'd by thy railing : 
 
 And therefore comes it, that his head is light. — Com. of E., v. i. 
 
 It seems * it is as proper to our age 
 
 To cast beyond ourselves in our opinions, 
 
 As it is common for the younger sort 
 
 To lack discretion.— Ha)H/i;i, ii. i. 
 
 It seems not meet, nor wholesome to my place, 
 
 To be produc'd (as, if I stay, I shall) 
 
 Against the Moor. — 0th., i. i. 
 
 ' This is the reading of the Folio, while the Quartos give ' By Heaven ' instead of 
 " It seems." 
 
RESTING. 429 
 
 Inform us of thy fortunes ; for it seems 
 
 They crave to be demanded. — Cym., iv. 2. 
 There might you have beheld one joy crown another, so, and in such manner, that, 
 it seemed, sorrow wept tp take leave of them — for their joy waded in tears. 
 W. T., v. 2. 
 
 And now and then an ample tear trill'd down 
 
 Her delicate cheek : it seem'd she was a queen 
 
 Over her passion ; who, most rebel-like. 
 
 Sought to be king o'er her. — Lear, iv. 3. 
 
 Ay, madam, it is common. — 
 
 If it be. 
 
 Why seems it so particular with thee ? — Hamlet, i. 2. 
 
 What a haste looks through his eyes ! so should he look 
 
 That seems to speak things strange. — Macb., i. 2. 
 Nothing she does or seems but smacks of something greater than herself. — W. T., iv. 3 . 
 
 All that impedes thee from the golden round, 
 
 Which fate and metaphysical aid doth seem 
 
 To have thee crown'd withal. — Macb., i. 5. 
 
 Plant those that have revolted in the van. 
 
 That Antony may seem to spend his fury upon himself. — Ant. &■ C, iv. 6. 
 Wherein our dearest friend 
 
 Prejudicates the business, and would seem 
 
 To have us make denial. — All's W., i. 2. 
 
 You would play upon me ; you would seem to know my 
 
 Stops ; you would pluck out the heart of my mystery. — Hamlet, iii. 2. 
 
 How courtesy would seem to cover sin. 
 
 When what is done is like a hypocrite. 
 
 The which is good in nothing but in sight. — Per., i. i. 
 She is stirring, sir ; if she will stir hither, / shall seem to notify unto her. — 0th., iii. i. 
 An it shall please you to break up this, it shall seem to signify. — Mer. of V., ii. 4. 
 Write me a prologue ; and let the prologue seem to say. — Mid. N. D., iii. i. 
 
 JESTING. 
 
 There are a few peculiar and whimsical modes of jesting to be met 
 with in Shakespeare, which we here point out. One is an irrelevancy 
 in jesting ; where the fun consists in a mad waggery of darting off upon 
 a track wholly disconnected with the conversation then going on : — 
 
 Art thou wise ? — 
 
 Ay, sir, I have a pretty wit. — 
 
 Why, thou sayest well. I do now remember a saying — " The fool doth think he is 
 wise ; but the wise man knows himself to be a fool." The heathen philosopher, when 
 he had a desire to eat a grape, would open his lips when he put it into his mo7ith ; 
 meaning thereby, that grapes were made to eat, and lips to open. You do love this 
 maid ? — 
 
 I do, sir. — 
 
 Give me your hand. Art thou learned ? — 
 
 No, sir. — 
 
 Then learn this of me ; to have, is to have ; for it is a figure in rhetoric, that drink, 
 being poured out of a cup into a glass, by filling the one doth empty the other ; for all 
 your writers do consent, thai ipse is he : now, you are not ipse, for I am he. — 
 
 Which he, sir ? — 
 
 He, sir, that must marry this woman. — As You L., v. i. 
 
430 THE SHAKESPEARE KEY. 
 
 In sooth, thou wast in very gracious fooling last night, when thou spokest of Pig-i'O- 
 gromitus, of the Vapians passing the equinoctial of Queubus : 'twas very good, i' faith. 
 I sent thee sixpence for thy leman : hadst it ? — 
 
 I did impeticos thy gratillity ; for Malvolio's nose is no whipstock : my lady has " 
 white hand, and the Myrmidons are no bottle-ale houses. — Tw. N., ii. 3. 
 
 Bonos dies, Sir Toby : for, as the old hermit of Prague, that never saw pen and ink, 
 very wittily said to a niece of king Gorboduc, " That, that is, is ; " so I, being master 
 parson, am master parson ; for, what is that, but that ? and is, but is ? — Ibid., iv. 2. 
 
 By the lord, thou sayest true, lad. And is not my hostess of the tavern a sweet 
 wench ? — 
 
 As the honey of Hybla, my old lad of the castle. And is not a buff jerkin a most 
 sweet robe of durance ? — 
 
 How now, how now, mad wag ! what, in thy quips, and thy quiddities ? What a 
 plague have I to do with a buff jerkin ? — Why, what a pox have I to do with my 
 hostess of the tavern ? — i H. IV., i. 2. 
 
 Wilt thou rob this leathern-jerkin, crystal-button, nott-pated, agate-ring, puke- 
 stocking, caddis-garter, smooth-tongue, Spanish-pouch, — 
 
 O lord, sir, who do you mean ? — 
 
 Why then, your brown bastard is your only drink ; for, look you, Francis, your white 
 canvas doublet will sully : in Barbary, sir, it cannot come to so much. — 
 
 What, sir ? — Ibid., ii. 4. 
 
 Take thou some new infection to thy eye, 
 And the rank poison of the old will die. — 
 Your plantain leaf is excellent for thai. — 
 For what, I pray thee ? — 
 
 For your broken shin. — R. & ji'.l., i. 2. 
 
 Another fashionable form of jesting, when Shakespeare wrote, was 
 the asserting palpable absurdities ; such as the following — affirming 
 that the blind god is a quick seer, and the blacksmith god is a good 
 carpenter : — 
 
 But speak you this with a sad brow ? or do you play the flouting Jack, to tell us 
 Cupid is a good hare-finder, and Vulcan a rare carpenter ? — M. Ado, i. i. 
 
 Another was the propounding riddle-like questions : — 
 
 What was a month old at Cain's birth, that's not five weeks old as yet? — Love's 
 L. L., iv. 2. 
 
 What is he, that builds stronger than either the mason, the shipwright, or the car- 
 penter } — Hamlet, v. i. 
 
 Another was the giving gravely hoaxing answers to foolish questions : — 
 
 What manner o' thing is your crocodile ? — 
 
 It is shaped, sir, like itself ; and it is as broad as it hath breadth : it is just so high as 
 it is, and moves with its own organs ; it lives by that which nourisheih it ; and the 
 elements once out of it, it transmigrates. — 
 
 What colour is it of ? — 
 
 Of its own colour too. — 
 
 'Tis a strange serpent. — 
 
 'Tis so : and the tears of ii are wet. — Ant. &• C, ii. 7. 
 
 He gives more than one specimen of quibbling jesting on the subject 
 of late orgies and early rising : — 
 
 Approach, Sir Andrew: not to be a-bed after midnight is to be up betimes; and 
 diluculo surgere, thou know'st, — 
 
 Nay, by my troth, I know not ; but I know, to be up ate, is to be up late. — 
 
 A false conclusion : I hate it as an unfilled can. To be up after midnight, and to go 
 to bed then, is early ; so that, to go to bed after midnight, is to go to bed betimes. — 
 Tw. N., ii. 3. 
 
 / am glad I was up so late ; for that 's the reason I tiias up so early. — Cym., ii. 3. 
 
RESTING. 431 
 
 There is a quaintly worded jest that Shakespeare has twice indulged 
 in, with slight variation : — 
 
 An honest, willing, kind fellow, as ever servant shall come in house withal ; and, I 
 warrant you, no tell-tale, nor no breed-bate : his worst fault is, that he is given to prayer ; 
 he is something peevish that way ; but nobody but has his fault. — Merry W., i- 4. 
 
 Every man has his fault, and honesty is his. — Timon, iii. i. 
 
 He has several jesting passages of blundering speech : — 
 
 I am the dog; — no, the dog is himself, and I am the dog, — O, the dog is me, and I am 
 myself: ay, so, so. — Two G. of V., ii. 3. 
 
 / am the poor duke's constable, and my name is Elbow. — M.for M., ii. i. 
 
 But we are the poor duke's officers. — M. Ado, iii. 5. 
 
 You must understand he goes but to see a noise that he heard, and is to come again. 
 —Mid. N. D., iii. i. 
 
 The eye of man hath not heard, the ear of man hath not seen, man's hand is not able 
 to taste, his tongue to conceive, nor his heart to report, what my dream was. — Ibid., iv. i. 
 
 I am famished in his service ; you may tell every finger I have with my ribs. — 
 Mer. of v., ii. 2. 
 
 It was not for nothing that my nose fell a-bleeding on Black Monday last at six 
 o'clock i' the morning, falling out that year on Ash-Wednesday was four year in the 
 afternoon. — Ibid., ii. 5. 
 
 For the table, sir, it shall be served in ; for the meat, sir, it shall be covered. — 
 Ibid., iii. 5. 
 
 Petruchio is coming, in a new hat and an old jerkin ; a pair of old breeches thrice 
 turned ; a pair of boots that have been candle-cases, one buckled, another laced ; an 
 old rusty sword ta'en out of the town armoury, with a broken hilt, and chapeless ; with 
 two broken points.' — Tarn, of S., iii. 2. 
 
 Grumio, my horse !-^ 
 
 Ay, sir, they be ready : the oats have eaten the horses. — Ibid., iii. 2. 
 
 'Twere as good a deed as to drink when a man 's a-hungry, to challenge him to the 
 field.— Tro. N., ii. 3. 
 
 Here 's another ballad, of a fish, that appeared upon the coast, on Wednesday the 
 fourscore of April, forty thousand fathom above water, and sang this ballad. — 
 W. T., iv. 3. 
 
 Hast thou never an eye in thy head? canst not hear ? — i H. IV., ii. i. 
 
 It is written, that the shoemaker should meddle with his yard, and the tailor with his 
 last, the fisher tvith his pencil, and the painter with his nets. — R. &• jful., i. 2. 
 
 Sirrah, if thou wonldst twt be a villain, but do me true service, undergo those employ- 
 ments wherein I should have cause to use thee with a serious industry — that is, what 
 villany soe'er I bid thee do, to perform it directly and truly — / would think thee an 
 honest man. — Cym., iii. 5. 
 
 And, in the following passage, Shakespeare gives us an example of a 
 joke that was in vogue when he wrote, t — of translating Latin sentences 
 into English with an entirely different meaning from the original : — 
 
 Hac ibat, as I told you before,— Simois, I am Lucentio, hie est, son unto Vincentio of 
 Pisa, — Sigcia tcllus, disguised thus to get your love ; — Hie steterat, and that Lucentio 
 that comes a-wooing, — Priami, is my man Tranio, — regia, bearing my port, — cclsa 
 senis, that we might beguile the old pantaloon. — Tarn, of S., iii. i. 
 
 * These " points," apparently referring to the sword, refer to the dress ; being tagged 
 strings or laces formerly used to attach the upper part of the suit to the lower. 
 
 t Chaucer also turns it to excellently humorous effect in his story of " The Cock and 
 the Fox," where sly Master Chanticleer thus befools his Madame Partelote : — 
 For all so siker, as ' In principio 
 Mulier est hominis confusio,' 
 (Madam, the sentence of this Latin is, 
 ' Woman is mannes joy and mannes blisa'). 
 
432 THE SHAKESPEARE KEY. 
 
 LEGAL PHRASES. 
 
 Shakespeare has introduced so many of these into his works, that 
 some persons have supposed he must at one time of his life have been 
 a lawyer ; but when we remember that he was on familiar terms with 
 the Thomas Greenes, father and son, who were attorneys at Stratford- 
 upon-Avon, and that he probably spent many an hour in their office, we 
 think his acquiring an intimate acquaintance with legal terms is fully 
 accounted for. To a mind like Shakespeare's the acquisition of know- 
 ledge of all sorts was like inhaling the air he breathed — a sheer vital 
 necessity ; he could no more help the one than the other, and both he 
 turned to best account. Numerous and accurate as are the legal terms 
 used by Shakespeare, they are not more numerous or more accurate than 
 many other special technical expressions employed by him, giving vigour 
 and lifelike animation to his style ; for whatever he heard and learned, 
 he stored in the treasure of his wisdom, and reproduced it refined and 
 embellished when he needed it in illustration or elucidation of the 
 philosophy in his dramas. Not only was Shakespeare friendly with 
 the Greene family ; he met many a law-student and lawyer among his 
 London associates ; and from these also he doubtless collected many of 
 the following legal phrases that he has so profusely introduced : — 
 
 Belike that now she hath enfranchised them, 
 Upon some oilier pawn for fealty. — Two G. of V., ii. 4. 
 
 Who writes himself armigero, in any bill, warrant, quittance, or obligation, armigero. 
 — Merry W., i. i. 
 
 Why, I '11 exhibit a bill in parliament for the putting down of men. — Ibid., ii. i. 
 If the devil have him not in fee-simple, with fine and recovery, he will never, I think, 
 in the way of waste. — Ibid., iv. 2. 
 
 Our city's institutions, and the terms 
 
 For common justice, you 're as pregnant in 
 
 As art and practice hath enriched any 
 
 That we remember. — M.for M., i. i. 
 Or I '11 have mine action of battery on thee. — 
 
 If he took you a box o' th' ear, you mi^ht have your action of slander too. — 
 Ibid., ii. I. 
 
 May he not do it by fine and recovery ? — Com. of E., ii. 2. 
 
 May it please your grace, Antipholus, my husband — 
 
 Whom I made lord of me and all I had, 
 
 At your important letters — this ill day 
 
 A most outrageous fit of madness took him. — Ibid., v. i. 
 
 The manner of it is, I was taken with the manner. — Lovers L. L., i. i. 
 
 Sole imperator and great general 
 
 Of trotting ^aniors. — Ibid., iii. i. 
 
 What present hast thou there ? — Ibid., iv. 3. 
 
 I beg the ancient privilege in Athens — 
 
 As she is mine, I may dispose of her : 
 
 Which shall be either to this gentleman. 
 
 Or to her death, according to our law 
 
 Immediately provided in that case. — Mid. N. D., i. i. 
 
 Go with me to a notary, seal me there 
 
 Your single bond. , . , 
 
 If he should break his day, what should I gain 
 
 By the exaction of the forfeiture ? — Mer. of V., i. 3. 
 
LEGAL PBRASES. 433 
 
 Let good Antonio look he keeji his day, 
 Or he shall pay for this. — Mer. of V., ii. S. 
 So please my lord the duke, and all the court, 
 To quit the fine for one half of his goods ; 
 I am content, so he will let me have 
 The other half jk use, to render it. 
 Upon his death, unto the gentleman 
 That lately stole his daughter. — Ibid., iv. i. 
 And charge us there upon inter' gatories. 
 And we will answer all things faithfully. — Ibid., v. i. 
 Three proper young men, of excellent growth and presence. — With bills on their 
 necks ; — "Be it known unto all men by these presents." — As You L., i. 2. 
 And let my officers of such a nature 
 Make an extent ttpon his house and lands. — Ibid., iii. i. 
 And say, you would present her at the leet. 
 Because she brought stone jugs, and no scal'd quarts. — 
 
 Tarn. ofS., Indue. 2. 
 And, for that dowry, I '11 assure her of 
 Her 'cvidowhood* — be it that she survive me — 
 In all my lands and leases whatsoever. — Ibid., ii. i. 
 My father is here look'd for every day. 
 To pass assurance of a dower in marriage 
 'Twixt me and one Baptista's daughter here. — Ibid., iv. 2. 
 We '11 pass the business privately and well. 
 * Send for your daughter by your servant here ; 
 My boy shall fetch the scrivener presently. — Ibid., iv. 4. 
 But I must attend his majesty's command, to whom I am now in ward, evermore in 
 subjection. — .AWs W.y'i. i. 
 
 I have a desire to hold my acquaintance with thee, or rather my knowledge, that I 
 may say, in the default, he is a man I know. — Ibid., ii. 3. 
 
 Sir, for a quart d'ecu he will sell the fee-simple of his salvation, the inheritance of it; 
 and cut the entail from all remainders, and a perpetual succession for it perpetually. — 
 Ibid., iv. 3. 
 
 I will buy me a son-in-law in a fair, and toll for this: I '11 none of him. — Ibid., v. 3. 
 
 Your cousin, my lady, takes great exceptions to your ill hours. — Why let her except 
 before excepted. — Tii\ N., i. 3. 
 
 We will bring the device to the bar, and crown thee for a finder of madmen. — 
 Ibid., iii. 4. 
 
 Let thy fair wisdom, not thy passion, sway 
 
 In this uncivil and unjust extent 
 
 Against thy peace. — Ibid., iv. i. 
 
 Force me to keep you as a prisoner. 
 
 Not like a guest ; so you shall pay your fees 
 
 When you depart, and save your thanks. — W. T., i. 2. 
 
 Your most obedient counsellor ; yet that dares 
 
 Less appear so, in comforting your evils. 
 
 Than such as most seem yours. — Ibid., ii. 3. 
 Your worship had like to have given us one, if .you had not taken yourself with the 
 manner. — Ibid., iv. 3. 
 
 If that shepherd be not in hand-fast, let him fly. — Ibid., iv. 3. 
 
 There might you have beheld one joy crown another, so, and in such manner, that 
 it seemed sorrow wept to take leave of them — for their joy waded in tears. — Ibid., v. 2. 
 
 Upon thy cheek lay I this zealous kiss. 
 
 As seal to this indenture of my love. — yohn, ii. i. 
 
 * " Widowhood" is here used for 'right as a widow,' or 'widow's jointure.' 
 
 2 F 
 
434 THE SHAKESPEARE KEY. 
 
 And lay aside my high blood's royalty, 
 
 Which fear, not reverence, makes thee to except. — R. II., i. i. 
 
 If you do wrongfully seize Hereford's rights. 
 
 Call in the letters-patents that he hath 
 
 By his attorneys-general to sue 
 
 His livery, and deny his offer'd homage, 
 
 You pluck a thousand dangers on your head. — Ihid., ii. i. 
 
 'Tis iji reversion that I do possess. — Ibid., ii. 2. 
 
 Whilst you have fed upon my signories, 
 
 Dispark'd my parks, and fell'd my forest-woods. — Ibid., iii. i. 
 Thou stolest a cup of sack eighteen years ago, and wert taken with the manner, 
 and ever since thou hast blushed extempore. — i H. IV., ii. 4. 
 
 An the indentures be drawn, I '11 away. . . . By this our book is drawn ; we will but 
 seal, and then to horse. — Ibid., iii. i. 
 
 Grew a companion to the common streets. 
 
 Enfeoffed himself to popularity.— /Jirf., iii. 2. 
 
 He came but to be Duke of Lancaster, 
 
 To siLe his livery, and beg his peace. — Ibid., iv. 3. 
 To punish you by the heels would amend the attention of your ears. . . . You.r 
 lordship may minister the potion of imprisonment to me in respect of poverty. — 
 2 H. IV., i. 2. 
 
 Marry, sir, thus; \hose precepts cannot be served. — Ibid., v. i. 
 
 I will devise matter enough out of this Shallow to keep Prince Harry in continual 
 laughter the wearing out of six fashions (which is four terms, or two actions), and he 
 shall laugh. — Ibid., v. i. 
 
 Either accept the title thou usurp'st, 
 
 Of benefit proceeding from our king.— i H. VI., v. 4. 
 Nay, he can make obligations, and write court-hand. — 2 H. VI., iv. 2. 
 And, contrary to the king, his crown, and dignity, thou hast built a paper-mill. — 
 Ibid., iv. 7. 
 
 Here 's the lord of the soil come to seize me for a stray, for entering his fee-simpU- 
 without leave. — Ibid., iv. 10. 
 
 Master lieutenant, now that God and friends 
 
 Have shaken Edward from the regal seat, 
 
 And turn'd my captive state to liberty. 
 
 My fear to hope, my sorrows unto joys — 
 
 At our enlargement what are thy due fees ? — 3 H. VI., iv. 6. 
 
 Windy attorneys to their client woes, 
 
 Airy succeeders of intestate joys 1 — R. III., iv. 4. 
 
 Tell me what state, what dignity, what honour, 
 
 Canst thou demise to any child of mine ? — Ibid., iv. 4. 
 It shall be therefore bootless that longer you desire the court. — H. VIII., ii. 4. 
 
 You are mine enemy ; and make my challenge, 
 
 You shall not be my judge ; . . . 
 
 I utterly abhor, yea, from my soul 
 
 Refuse you for my judge. — Ibid., ii. 4. 
 To confirm his goodness, tied it by letters-patents. — Ibid., iii. 2. 
 
 That therefore such a writ be sit'd against you ; 
 
 To forfeit all your goods, lands, tenements. 
 
 Chattels, and whatsoever, and to be 
 
 Out of the king's protection. — Ibid., iii. 2. 
 How now ! a kiss in fee-farm. — Tr. <&■ Cr., iii. 2. 
 
 What, billing again ? Here 's — " In witness whereof the parties interchangeably." — 
 Ibid., iii. 2. 
 And the rWeWed fee-simple of the tetter. — Ibid., v. i. 
 
 To beg of Hob and Dick, that do appear, 
 
 Their needless vouches } — Coriol., ii. 3. 
 
LEGAL PHRASES. 435 
 
 An I were so apt to quarrel as thou art, any man should buy the fee-simple of my life 
 for an hour and a quarter. — R. &• jfuL, iii. i. 
 
 The rest of yonr fees,' oh, gods — the senators of Athens, together with the common 
 lag of people — what is amiss in them, you gods, make suitable for destruction. — 
 Timon, iii. 6. 
 
 Thou know'st that Banquo, and his Fleance, lives. — 
 
 But in them nature's copy 's not eterne. — Macb., iii. 2. 
 
 Cancel and tear to pieces that great bond 
 
 Which keeps me pale ! — Ibid., iii. 2. 
 
 But yet I 'II make assurance double sure. 
 
 And take a bond of fate : thou shalt not live. — Ibid., iv. i. 
 
 Wear thou thy wrongs, the title is affeer'd! — Ibid., iv. 3. 
 What concern they ? 
 
 The general cause ? or is it a. fee-grief 
 
 Due to some single breast ? — Ibid., iv. 3. 
 
 All those his lands which he stood seiz'd of. — Hamlet, i. i. 
 
 Gives him three thousand crowns in annual fee. — Ibid., ii. 2. 
 
 Nor will it yield to Norway or the Pole 
 
 A ranker rate, should it be sold in fee. — Ibid., iv. 4. 
 If I drown myself wittingly, it argues an act: and an act hath three branches ; it is 
 to act, to do, and to perform : argal, she drowned herself wittingly. — Ibid., v. i. 
 
 Why may not that be the skull of a lawyer? Where be his quiddits now, his quillets, 
 his cases, his tenures, and his tricks ? Why does he suffer this rude knave now to knock 
 him about the sconce with a dirty shovel, and will not tell him of his action of battery ? 
 H'm ! This fellow might be in 's time a great buyer of land, with his statutes, his recog- 
 nizances, hi^ fines, his double vouchers, his recoveries : is this the fine of hisfjies, and 
 the recovery of his recoveries, to have his fine pate full of fine dirt ? will his vouchers 
 vouch him no more of his purchases, and double ones too, than the length and breadth 
 of a pair of indentures ? The very conveyances of his lands will hardly lie in this box; 
 and must the inheritor himself have no more, ha ? — Ibid., v. i. 
 
 And cry these dreadful smnmoners grace.— Lear, iii. 2. 
 No, they cannot touch me for coining ; I am the king himself. — Ibid., iv. 6. 
 
 And, in conclusion, nonsuits my mediators. — 0th., 1. i. 
 
 For thy solicitor shall rather die. 
 
 Than give thy cause away. — Ibid., iii. 3. 
 Who has a breast so pure. 
 
 But some uncleanly apprehensions 
 
 Keep leets and law-days, and'in session sit 
 
 With meditations lawful ? — Ibid., iii. 3. 
 Where's Fnlvia's process .' Ctesar's, I would say? both? — Ant. &• C, i. i. 
 
 Labienus 
 
 (This is stiff news) hath, with his Parthian force. 
 
 Extended Asia from Euphrates. — Ibid., i. 2. 
 
 But my full heart remains in use with you. — Ibid., i. 3. 
 Upon his own appeal, seizes him ; so the poor third is up, till death enlarge his 
 confine. — Ibid., iii. 5. 
 
 A conqueror that will pray in aid for kindness, 
 
 Where he for grace is kneel'd to. — Ibid., v. 2. 
 
 Here 's a voucher, stronger than ever law could make. — Cym., ii. 2. 
 
 Senseless bauble, art thou afeodary for this act. — Ibid., iii. 2. 
 
 But when the heart's attorney once is mute. 
 
 The client breaks, as desperate in his suit — V. &• Adon., Stanza 56. 
 
 * " Fees " is here used in its legal and feudal sense of all tenements that are held by 
 any acknowledgment of superiority to a higher lord ; and is applied by the poet to the 
 senators and commoners of Athens, as creatures who hold their existence by sufferance 
 of the gods. 
 
 2 F 2 
 
436 THE SHAKESPEARE KEY. 
 
 Which purchase if thou make, for fear of slips, 
 
 Set thy seal-manual on my wax-red hps. — V. &■ Adon., Stanza 86. 
 
 Say for non-payment that the debt should double. — Ibid., 87. 
 
 Her pleading hath deserv'd a greater fee.— Ibid., 102. 
 
 Dim register and notary of shame ! — Lucrece, Stanza no. 
 
 To trembling clients be you mediators : 
 
 For me I force not argument a straw. 
 
 Since that my case is past the help of law. — Ibid., 146. 
 
 My bloody judge forbade my tongue to speak : 
 
 No rightful //ca might plead for justice there. — Ibid., 236. 
 
 The deep vexation of his inward soul 
 
 Hath serv'd a dumb arrest upon his tongue. — Ibid., 255. 
 
 So should that beauty which you hold in lease 
 
 Find no determination. — Sonnet 13. 
 
 And summer's lease hath all too short a date. — Ibid., 18. 
 
 When to the sessions ot sweet silent thought 
 
 I summon up remembrance of things past. — Ibid., 30. 
 
 Thy adverse party is thy advocate. 
 
 And 'gainst myself a lawful plea commence : 
 
 Such civil war is in my love and hate, 
 
 That I an accessory needs must be 
 
 To that sweet thief which sourly robs from me. — Hid., 35. 
 
 But the defendant doth that plea deny. 
 
 And ,says in him thy fair appearance lies. 
 
 To ^cide this title is impannelled 
 
 A quest of thoughts, all tenants to the heart ; 
 
 And by their verdict is determined 
 
 The clear eye's moiety, and the dear heart's part.' — Ibid., 46. 
 
 How with this rage shall beauty hold a plea. 
 
 Whose action is no strbnger than a flower ? — Ibid., 65. 
 
 But be contented : when that fell arrest 
 Without all bail shall carry me away. — Ibid., 74. 
 
 Upon thy pari I can set down a story 
 
 Of faults conceal'd, wherein I am attainted. — Ibid., 88. 
 
 Which works on leases of short-number'd hours. — Ibid., 124. 
 
 Hence, thou suborn'd informer ! a true soul. 
 
 When most impeach'd stands least in thy controul. — Ibid., 125. 
 
 And I myself am mortgaged to thy will, 
 
 Myself I '\\ forfeit, so that other mine 
 
 Thou wilt restore, to be my comfort still. . . . 
 
 He learn'd but, surety-like, to write for me. 
 
 Under that bond that him as fast doth bind. 
 
 The statute of thy beauty thou wilt take. 
 
 Thou usurer, that putt'st forth all to use. 
 
 And sue a friend, came debtor for my sake. — Ibid., 134. 
 
 Why sp large cost, having so short a lease. 
 
 Dost thou upon thy fading mansion spend ? — Ibid., 146. 
 
 My woful self, that did in freedom stand. 
 
 And was my ownfee-simple (not in part). — A Lover's Comp., Stanza 21. 
 
 Shakespeare has introduced a few Latin law terms in the course of 
 his dramas : — 
 
 Take you assurance of her, cum privilegio ad imprimendum soliim : to the church ; 
 take the priest. — Tarn, of S., iv. 4. 
 
LETTERS, WRITTEN PARTLY IN VERSE, PARTLY IN PROSE. 437 
 
 Men shall hold of me in capite. — 2 H. VI., iv. 7. 
 
 They may, cum frivihgio, wear away 
 
 The lag end of their lewdness, and be laugh'd at. — H. VIII., i. 3. 
 
 Fall into the compass of a,prcemunire. — Ibid., iii. 2. 
 
 He has also used a few terms derived from old French legal ex- 
 pressions : — 
 
 Crier Hobgoblin, make the fairy o-yes [oyez, ' hear ye ']. — Merry W., v. 5. 
 
 Some tricks, some quillets [qu'il est, ' that it is ' ; which phrase formed the commence- 
 ment of allegations in law proceedings], how to cheat the devil. — Love's L. L., iv. 3. 
 
 But in these nice sharp quillets of the law, 
 
 Good faith, I am no wiser than a daw. — i H. VI., ii. 4. 
 
 This precious book of love, this unbound lover. 
 
 To beautify him, only lacks a cover [in double reference to the cover of a book, and 
 to the legal term ' coverture,' which signifies marriage subsistent. The term is legally 
 applied to a woman's marriage ; and comes from the old French law-term, femmc 
 couverte, meaning a woman sheltered by marriage under her husband]. — R. &• jful., i. 3. 
 
 LETTERS, WRITTEN PARTLY IN VERSE, PARTLY IN 
 
 PROSE. 
 
 This seems to have been a fashion in Shakespeare's time, especially 
 for amatory epistles ; since he has given us more than one example of 
 them. Probably, therefore, the line beginning the first letter quoted 
 belovir was intended to be a portion of its prose commencement, as there 
 is no line corresponding in rhyme therewith ; while the verse continua- 
 tion is in rhymed lines, and the conclusion returns again to prose : — 
 
 Dian, the count's a fool, and full of gold. — . . . 
 When he swears oaths, bid him drop gold, and take it, 
 
 After he scores, he never pays the score ; 
 Half won is match well made ; match, and well make it ; 
 
 He ne'er pays after debts, take it before ; 
 And say a soldier, Dian, told thee this ; 
 Men are to mell with, boys are not to kiss ; 
 For count of this, the count 's a fool, I know it, 
 Who pays before, but not when he does owe it. 
 
 Thine, as he vowed to thee in thine ear, 
 
 Parolles. — All's W., iv. 3. 
 
 To the unknown beloved, this, and my good wishes. . . 
 Jove knows, I love : 
 
 But who ? 
 Lips do not move ; 
 No man must know. . . . 
 I may command where I adore ; 
 
 But silence, like a Lucrece knife. 
 With bloodless stroke my heart doth gore : 
 M, O, A, I, doth sway my life. . . . 
 If this fall into thy hand, revolve. In my stars I am above thee ; but be not afraid 
 of greatness ; some are born great, some achieve greatness, and some have, &c. — 
 Tw. N., ii. 5. 
 
438 THE SHAKESPEARE KEY. 
 
 To the celestial, and my soul's idol, the most beautified Ophelia. . . . In her excellent 
 white bosom, these. . . . 
 
 Doubt thou the stars are fire ; 
 
 Doubt that the sun doth move ; 
 Doubt truth to be a liar ; 
 But never doubt I love. 
 O dear Ophelia, I am ill at these numbers ; I have not art to reckon my groans : 
 but that I love thee best, O most best, believe it. Adieu. 
 
 Thine evermore, most dear lady, whilst this machine is to him, Hamlet. — 
 Hamlet, ii. 2. 
 
 LOVE EXAGGERATIONS. 
 
 Shakespeare has in various passages shown the exaggerated phrases 
 and hyperbolical expressions that lovers affect and permit themselves to 
 use : — 
 
 It is thyself, mine own self s better part, 
 
 Mine eye's clear eye, my dear heart's dearer heart. 
 
 My food, my fortune, and my sweet hope's aim, 
 
 My sole earth's heaven, and my heaven's claim. — Com. of E., iii. 2. 
 
 For I will be horribly in love with her. — M. Ado, ii. 3. 
 
 The rather, gentle princess, because / love thee cruelly. — H. V., v. 2. 
 
 Nor never woo in rhyme, like a blind harper's song I 
 
 Taffeta phrases, silken terms precise. 
 
 Three pil'd hyperboles, spruce affectation. 
 
 Figures pedantical. — Love's L. L., v. 2. 
 
 And thou, thrice-crowned queen of night, survey 
 
 With thy chaste eye, from thy pale sphere above, 
 
 Thy huntress' name, that my full life doth sway. — 
 
 As You L., iii. 2 [Verses). 
 M, O, A, I, doth sway my life. — Tw. N., ii. 5 (Verses). 
 There shall your master have a thousand loves, 
 A mother, and a mistress, and a friend, 
 A phoenix, captain, and an enemy, 
 
 A guide, a goddess, and a sovereign, • 
 
 A counsellor, a traitress, and a dear ; 
 His humble ambition, proud humility. 
 His jarring concord, and his discord dulcet. 
 His faith, his sweet disaster ; with a world 
 Of pretty, fond, adoptions Christendoms, 
 That blinking Cupid gossips. — All's W., i. i. 
 A traitor you do look like ; but such traitors 
 His majesty seldom fears. — Ibid., ii. i. 
 With him, the mortal Venus, the heart-blood of beauty, love's 'invisible soul 
 Helen.— Tc. &■ Cr., iii. i. 
 
 To bed, to bed : sleep kill those pretty eyes, 
 And give as soft attachment to thy senses 
 As infants empty of all thought. — Ibid., iv. 2. 
 Why, then, oh, brawling love ! oh, loving hate ! 
 Oh, anything, of nothing first create I 
 Oh, heavy lightness I serious vanity ! 
 Mis-shapen chaos of well-seeming forms ! 
 Feather of lead, bright smoke, cold fire, sick health ! 
 Still-waking sleep, that is not what it is ! 
 This love feel I, that feel no love in this. . . . 
 Love is a smoke rais'd with the fume of sighs ; 
 
MODE OF ADDRESS OR SALUTATION. 439 
 
 Being purg'd, afire sparkling in lovers' eyes ; 
 
 Being vex'd a sea nourisk'd with lovers' tears : 
 
 What is it else ? a madness most discreet, 
 
 A choking gall, and a preserving sweet. — R. &• Jul., i. i. 
 
 At my poor house look to behold this night 
 
 Earth-treading stars that make dark heaven light. — Ibid., :. i. 
 
 Oh, serpent heart, hid with a flowering face I 
 
 Did ever dragon keep so fair a cave ? 
 
 Beautiful tyrant ! fiend angelical I 
 
 Dove-feather' d raven ! wolfish-ravening lamb ! 
 
 Despised substance of divinest show I 
 
 yust opposite to what thou justly seem'st, 
 
 A damned saint, an honourable villain I 
 
 O, nature ! what hadst thou to do in hell, 
 
 When thou didst bower the spirit of a fiend 
 
 In mortal paradise of such sweet flesh ? 
 
 Was ever book containing such vile matter. 
 
 So fairly bound ? O, that deceit should dwell 
 
 In such a gorgeous palace ! — Ibid., iii. 2. 
 
 Oh, my fair warrior ! — 0th., ii. I. 
 
 I was (unhandsome warrior as I am) 
 
 Arraigning his unkindness with my soul. — Ibid., iii. 4. 
 
 In this last-cited passage, the dramatist causes Desdemona to make 
 touching allusion to her husband's having previously called her 
 " vs'arrior" ; which was a title frequently given by amorous gallants to 
 their lady-loves, in deprecation of their supposed cruelty and an- 
 tagonism, and which is applied by Othello to his bride- wife, in allusion 
 to her refusing (in act i., sc. 3) to " be left behind, a moth of peace, and 
 he go to the war." 
 
 In the first passage from "All's Well" and in the first and third 
 passage from " Romeo and Juliet " above quoted, we have specimens 
 of those rapturous tirades which it was formerly the mode, in poetic or 
 romantic language, to lavish upon love and the object of affection ; 
 full of fanciful antitheses, whimsically opposite attributes, and half- 
 reproachful, half-admiring epithets, expressive of the mingled torment 
 and joy belonging to this sovereign passion. 
 
 MODE OF ADDRESS OR SALUTATION. 
 
 Our dramatist employs certain courteous phrases of address, saluta- 
 tion, or rejoinder, in special form. As commencement of address in 
 rejoinder : — 
 
 Sir, my lord, I could do this. — W. T., i. 2. 
 
 Sir, my gracious lord, to chide at your. — Ibid., iv. 3. 
 
 As an address of recognition on meeting : — 
 
 Welcome, from Egypt, sir. — Half the heart of Casar, worthy Mecanas ! my honour- 
 able friend, Agrippa ! — Good Enobarbus ! — Ant. &• C, ii. 2. 
 
 Accosting, by one who enters :— 
 
 With all my heart, gentlemen, both : and how fare you ? — Timon, iii. 6. 
 
 Brutus, my lord !—Jul. C, ii. i. 
 
440 THE SHAKESPEARE KEY. 
 
 Phrase of courtesy, in passing before some one : — 
 
 Lead you on : 
 Follow, Cominius ; we must follow you ; 
 Right worthy you priority. — Noble Marcius ! — CorioL, i. i. 
 
 Elliptical form of address : — 
 
 [I say] to you all three. 
 The senators alone of this great world. — Ant. &■ C, ii. 6. 
 
 Elliptical phrase, announcing an entrance : — 
 
 [Here] she [conies] and the duke her husband. — Lear, v. i. 
 
 Elliptical phrases of acquiescence : — 
 
 Who 's there ? my woman Helen ? — Please you, madam. — Cym., ii. 2. 
 'Tis the ninth hour o' the morn . . . 
 
 . . . So please you, sir. — Ibid., iv. 2. 
 
 Elliptical phrase, spoken in polite rejoinder:— 
 
 Welcome to Rome. — Thank you. — Sit. — Sit, sir. — Nay then — [since you will have 
 it so, I take my seat first]. — Ant. &• C, ii. 2. 
 
 Affected double style of address : — 
 
 Good sparks and lustrous, a word, good metals. — All's IT., ii. i. 
 
 Reply to one who salutes on entering : — 
 
 My ladies both, good day to you. — 
 Sweet madam.— CorioL, i. 3. 
 Save you, worthy general ! 
 With all my heart, sir. — 0th., iv. i. 
 
 Reply to one who salutes on departing : — 
 
 Now fare you well, good sir. — With all my heart. — Lear, iv. 0. 
 
 Salutation to some one taking leave : — 
 
 I '11 to the king, 
 
 And say I spoke with you. — My honoured lord. — H. VIII., ii. 3. 
 
 Salutation from some one taking leave : — 
 God be with you ; fare you well. — Good my lord ! — Hamlet, ii. i. 
 You are welcome to Elsinore. — Good my lord ! — Ibid., ii. 2. 
 
 Mutual amenities between a host and his departing friends : — 
 We are so virtuously bound, — ■ 
 
 And so 
 Am I to you. — So infinitely endcar'd, — 
 All to you. Lights, more lights ! — 
 
 The best of happiness. 
 Honour, and fortunes, keep with you, lord Timon ! — 
 Ready for his friends. — Timon, i: 2. 
 
 Salutation in reply to one who is drinking and wishing good health : — 
 The queen carouses to thy fortune, Hamlet. — 
 Good madam ! — Hamlet, v. 2. 
 
 Salutation of pledging while drinking \_See Idioms] : — 
 
 My lord, in heart ; and let the health go round. — Timon, i. 2. 
 
 Said in reply to one who is speaking laudatorily : — 
 
 Horatio, thou art e'en as just a man 
 As e'er my conversation cop'd withal. — 
 0, my dear lord. — Hamlet, iii, 2. 
 
MODE OF ADDRESS OR SALUTATION. 441 
 
 Peculiar phrase of distinctive announcement : — 
 Pompey the Great, — Your servant, and Costard. — Love's L. L., v. 2. 
 We talk of young Master Launcelot. — Your worship's friend, and Launcelot, sir. — 
 Mer. of v., ii. i. 
 
 Shakespeare occasionally makes a speaker allude to himself in the 
 third person : — 
 
 Twelve years since, Miranda, twelve years since. 
 Thy father was the Duke of Milan. — Temp., i. 2. 
 And what news else betideth here in absence of thy friend. — Two G. of V., i. i- 
 My heart assures me, that the Earl of Warwick 
 Shall one day make the Duke of York a king. . . . 
 Richard shall live to make the Earl of Warmck. — 2 H. VI., ii. 2. 
 Whenever Buckingham doth turn his hate upon your grace. — R. III., ii. i. 
 And dare be bold to weep for Buckingham . . . and, if he speak of Buckingham . 
 pray, tell him you met him. — H. VIII., ii. t. 
 
 More ready to cry out, " Who knows what follows ? " 
 Than Hector is. — Tr. &■ Cr., ii. 2. 
 Ne'er speak or think that Timon's fortunes 'mong his friends. — Timon, ii. 2. 
 When Marcus Brutus grows so covetous. — yul. C, iv. 3. 
 
 On Cassius, for Cassius is aweary of the world . . . better than ever thou lov'dst 
 Cassius. — Ibid., iv. 3. 
 
 If Cassius might have rul'd , . . this very day was Cassius born. — Ibid., v. i. 
 And what so poor a man as Hamlet is may do. — Hamlet, i. 5. 
 Who calls on Hamlet? — Ibid., iv. 2. 
 
 Was 't Hamlet wrong'd Laertes ? Never Hamlet : 
 
 If Hamlet from himself be ta'en away. 
 
 And, when he 's not himself, does wrong Laertes, 
 
 Then Hamlet does it not ; Hamlet denies it. 
 
 Who does it then ? His madness : if 't be so, 
 
 Hamlet is of the faction that is wrong'd ; 
 
 His madness is poor Hamlet's enemy. — Ibid., v. 2. 
 
 The queen carouses to thy fortune, Hamlet. — Ibid., v. 2. 
 
 And he occasionally makes a speaker use the third person in men- 
 tioning one who is present : — 
 
 It lies as sightly on the back of him. — jfohn, ii. i. 
 
 . . . was that done like Cassius ? 
 Should I have answei'd Caius Cassius so ? — ful. C, iv. 3. 
 To be but mirth and laughter to his Brutus. — Ibid., iv. 3. 
 And my poor fool is hang'd ! — Lear, v. 3. 
 \^'hy did he marry Fulvia, and not love her ? 
 I '11 seem the fool I am not ; Antony 
 
 Will be himself. — But stirr'd by Cleopatra. — Ant. &• C, i. i. 
 Great Mark Antony is now a widower. — Ibid., ii. 2. 
 
 Occasionally he causes a speaker to change the person in reference 
 to the same object during the same sentence : — 
 
 My loving lord Dumain [3rd person] is mortified: 
 
 The grosser manner of these world's delights 
 
 He [3rd person] throws upon the gross world's baser slaves : 
 
 To love, to wealth, to pomp, I [ist person] pine and die. 
 
 With all these living in philosophy. — Love's L. L., i. i. 
 
 Ccesar [2nd person], read mine first; for mine's a suit 
 
 That touches Casar [3rd person] nearer : read it, great CcBsar [2nd person] . — 
 yul. C, iii. I. 
 
442 THE SHAKESPEARE KEY. 
 
 Good now, sit down [2nd person], and tell me, he [3rd person] that knows, why 
 this same strict and most. — Hamlet, i. i. 
 
 And occasionally he makes a speaker address in the second person 
 some one who is not present : — 
 
 Why blame joM me to love you? — Whom do you speak to, "Why blame you me 
 to love you ? ''—To her that is not here, nor doth not hear. — As You L., v. 2. 
 My learn'd and well-beloved servant, Cranmer, 
 Pry'thee, return ! with thy approach, I know.— H. VIII., ii. 4. 
 
 And, thou grcat-siz'd coward. 
 No space of earth shall sunder our two hates : 
 I '11 haunt thee like a wicked conscience still. — Tr. &> Cr., v. 11. 
 
 Five times, Marcius, 
 I have fought with thee ; so often hast thou beat me. — Coriol., i. 10. 
 Come, Antony, and young Octavius, come, 
 'Rtve^Ti^e yourselves alone on Cassius. — ynl. C, iv. 3. 
 
 Thou hast one daughter, 
 Who redeems nature from the general cmse.— Lear, iv. 6. 
 
 Antony, 
 Leave thy lascivious wassails. When thou once 
 Wast beaten from Modena, where thou slew'st 
 Hirtius and Pansa, consuls, at thy heel 
 Did famine follow, &c., &c. [to the end of speech]. — Ant. &• C, i. 4. 
 
 Wherefore write you not 
 What monsters her accuse ? Leonatus ! 
 
 master J what a strange infection 
 
 Is fallen into thy ear! &c., &c. — Cym., iii. 2. 
 Pisanio, I '11 now taste of thy drug. — Ibid., iv. 2. 
 Would, Polydore, thou hadst not done't ! though valour 
 Becomes thee well enough. — 
 
 . . . Polydore, 
 
 1 love thee brotherly ; but envy much 
 Thou hast robb'd me. — Ibid., iv. 2. 
 
 And, in the following passage, he causes a speaker to apostrophise 
 the absent and the present together : — 
 
 What have you done ? 
 Tigers, not daughters, what huve you perform'd? 
 A father, and a gracious aged man, 
 Whose reverence the head-lugg'd bear would lick. 
 Most barbarous, most degenerate! have you madded. 
 Could my good brother suffer you to do it ? — Lear, iv. 2. 
 
 MUSICAL TERMS. 
 
 So frequent and so apt is Shakespeare's use of musical terms and his 
 introduction of them into various passages of his works, that he might 
 as well be supposed to have been a musician as a lawyer [See Legal 
 Phrases] ; but we believe that his knowledge of musical terms no 
 more proves him to have been a practical musician than his acquaint- 
 ance with legal expressions shows him to have practised the law. 
 From professional men in both pursuits, he was able — with his capacity 
 for gathering whatever might turn to profit in his art as poet and 
 dramatist — to acquire even the large amount of familiarity with the 
 
MUSICAL TERMS. 443 
 
 several technicalities in each vocation that he has displayed. He 
 has more than once introduced some of the Guidonian names for 
 the notes in the musical scale — ut, re, mi, fa, sol, la, si : — 
 
 Ut, re, sol, la, mi, fa. Under pardon, sir. — Lovers L. L., iv. 2. 
 I '11 try how you can sol, fa, and sing it. — Tam. of S., i. 2. 
 A re, to plead Hortensio's passion, 
 B mi, Bianca, take him for thy lord, 
 C fa ut, that loves with all affection ; 
 D sol re, one cliff, two notes have I : 
 E la mi, show pity, or I die. — Ibid., iii. i (Gamut). 
 I'll re you, I '11 /a you j do you note me ? — 
 An you re us and/a us, you note us. — R. &• Jul,, iv. 5. 
 These eclipses do portend these divisions ! fa, sol, la, mi. — Lear, i. 2. 
 
 He uses some of the terms belonging to musical notation : — 
 
 One cliff, two notes have I. — Tam. of S., iii. i. 
 
 And any man may sing her, if he can take her cliff; she's noted. — Tr. &• Cr., v. 2. 
 As peace should still her wheaten garland wear. 
 And stand a comma* 'tween their amities. — Hamlet, v. 2. 
 Do it in notes. — Note this before my notes. 
 There 's not a note of mine that 's worth the noting. — 
 Why these are very crotchets that he speaks ; 
 Note, notes, forsooth, and, nothingf. — M. Ado, ii. 3. 
 
 No hearing, no feeling, but mv sir's song, and admiring the n5thiiig\ of it. — 
 W. T., iv. 3. 
 
 I will carry no crotchets. — R. &• Jul., iv. 5. 
 
 Rests me his minim rest, one, two, and the third in. — Ibid., ii. 4. 
 
 To teach you g'awiH*. . . , I am past my ^amaf long ago. — Yet read the gamut of 
 Hortensio. — Gamut I am, the ground of all accord. . . . Call you this gamut ? — 
 Tam. of S., iii. i. 
 
 He uses several terms pertaining to musical instruments : — 
 It is a vice in her ears, which horse-hairs and calves'-guts. — Cym., ii. 3. 
 What say you, Simon Catling ? — R. &• Jul., iv. 5. 
 
 Unless the fiddler Apollo get his sinews to make catlings on. — Tr. &• Cr., iii. 3. 
 The devil rides upon a, fiddle-stick. — i H. IV., ii. 4. 
 
 An thou make minstrels of us, look to hear nothing but discords: here's my fiddle- 
 stick. — R. &• Jul., iii. I. 
 
 Call me what instrument you will, though you can fret me, you cannot play upon 
 me. — Hamlet, iii. 2. 
 
 Why, no ; for she hath broke the lute to me. 
 
 I did but tell her she mistook her frets. 
 
 And bow'd her hand to teach her fingering ; 
 
 When, with a most impatient devilish spirit, 
 
 "Frets, call you these ? " quoth she ; " I 'U fume with them." — 
 
 Tam.ofS.fii. i. 
 
 * Some commentators have supposed that the word " comma " here means the smallest 
 point in punctuation ; but, considering the context of the whole passage, we think 
 it is not so likely that he used a term in punctuation, as a term referring to concord. 
 " Comma " is employed by theoretical musicians to express ' the least of all the sensible 
 intervals in music,' showing the exact proportion between concords. Tuners of organs 
 and pianofortes use the word " comma " thus to the present day. We believe that 
 Shakespeare used " comma " here to express a link of amicably harmonious connection. 
 
 f Shakespeare was evidently so tickled with this pun, that he could not resist repeat- 
 ing the play upon the word between nothing (sounded with a long 0) and noting. 
 
444 THE SHAKESPEARE KEY. 
 
 How oft, when thou, my music, music play'st, 
 Upon that blessed wood whose motion sounds 
 With thy sweet fingers, when thou gently sway'st 
 The wiry concord that mine ear confounds. 
 Do I envy those jacks that nimble leap 
 To kiss the tender inward of thy hand . . . 
 Since jacks so happy are in this. 
 
 Give them thy fingers, me thy lips to kiss. — Sonnet 128. 
 Nay, but his jesting spirit ; which is now crept into a late-string, and now governed 
 by stops. — M. Ado, iii. 2. 
 
 The winds did sing it to me ; and the thunder, 
 
 That deep and dreadful organ-pipe, pronounc'd 
 
 The name of Prosper : it did base my trespass. — Temp., iii. 3. 
 
 I am the cygnet to this pale faint swan, 
 
 Who chants a doleful hymn to his own death. 
 
 And from the organ-pipe of frailty sings 
 
 His soul and body to their lasting rest. — yohn, v. 7. 
 
 O, you are well tun'd now ! 
 But I 'II set down the pegs that make this music. 
 As honest as I am. — 0th., ii. i. 
 Open your ears ; for which of you will stop 
 The vent of hearing when loud Rumour speaks ? . . , 
 
 . . . Rumour is a pipe 
 Blown by surmises, jealousies, conjectures ; 
 And of so easy and so plain a stop. 
 That the blunt monster with uncounted heads, 
 The still-discordant wavering multitude. 
 Can play upon it. — 2 H. IV. {Indue.) 
 That they are not a pipe for fortune's finger 
 To sound what stop she pleases. — Hamlet, iii. 2. 
 Look you, these are the stops . . . you would play upon me ; you would seem to 
 know my stops. — Ibid., iii. 2. 
 
 Govern these ventages with your finger and thumb. — Ibid., iii. 2. 
 Such to-be-pitied and o'er-wrested seeming 
 He acts thy greatness in. — Tr. &• Cr., i. 3. 
 
 But this Antenor, 
 I know, is such a wrest in their affairs, 
 That their negotiations all must slack. 
 Wanting his manage. — Ibid., iii. 3. 
 
 He makes mention of several musical instruments : — 
 
 And others, when the bag-pipe sings i' the nose - . . why he, a swollen bag-tihe 
 
 Mer. of v., iv. i. & r jr ■ 
 
 No, the bag-pipe could not move you. — W. T., iv. 3. 
 Yea, or the drone of a Lincolnshire bag-pipe. — i H. IV., i. 2. 
 He that went, like a base-viol, in a case of leather. — Com. of E., iv. 3. 
 What is this ? — A cittern head. — Love's L. L., v. 2. 
 
 I have known, when there was no music with him but the drum and the fife ; and 
 now had he rather hear the tabor and the pipe. — M. Ado, ii. 3. 
 And when you hear the drum. 
 And the vile squeaking of the wry-neck'd //«. — Mer. of V., ii. 5. 
 Farewell the neighing steed, and the shrill trump. 
 The spirit-stirring drum, the ear-piercing_/i/i. — 0th., iii. 3. 
 The oars were silver, which to the tune of flutes kept stroke. — Ant. &• C, ii. 2. 
 These drums! these trumpets, flutes ! what ! — Ibid., ii. 7. 
 His word is more than the miraculous harp. — Temp., ii. i. 
 To be sung by an Athenian eunuch to the harp.— Mid. N. D., v. i. 
 
MUSICAL TERMS. 445 
 
 The case of a treble hautboy was a mansion for him. — 2 H. IV., iii. 2. 
 
 For Orpheus' lute was strung with poets' sinews. — Two G. of V., iii. 2. 
 
 For God defend the lute should be like the case! — M. Ado, ii- i. 
 
 As sweet and musical as -bright Apollo's lute, strung with his hair. — Love's L. L., iv. 3. 
 
 Take you the lute ; and you the set of books. — Tam. of S., ii. i. 
 
 Or an old lion, or a lovers lute. — i H. IV., i. 2. 
 
 Sung by a fair queen in a summer's bower, 
 
 With ravishing division, to her lute. — Ibid., iii. i. 
 And, like thee, Nero, play on the lute, beholding the towns burn. — i H. VI., i. 4. 
 
 He capers nimbly in a lady's chamber. 
 
 To the lascivious pleasing of a lute. — R. III., i. i. 
 Take thy lute, wench. . . . Orpheus with his lute. — H. VIII., iii. i. 
 Or when to the lute she sung. — Per., iv. [Gower). 
 
 Upon the lute doth ravish . . . that Phcebus' lute, the queen of music, makes. — 
 Pass. PH., Stanza 6. 
 
 Pretty ! What say you, Hugh Rebeck ? — R. &• Jul., iv. 5. 
 
 Indeed he hath played on his prologue like a child on a recorder. — Mid. N. D., v. i. 
 Come, some music ! come, the recorders ! . . . Oh, the recorders : let me see one. — 
 Hamlet, iii. 2. 
 
 The trumpets, sackbuts, psalteries, 3.ni fifes. 
 
 Tabors, and cymbals, and the shouting Romans, 
 
 Make the sun dance. Hark you ! — Coriol., v. 4. 
 Then I beat my tabor ; at which like. — Temp., iv. i. 
 Or I will play on the tabor to the worthies. — Love's L. L., v. i. 
 Dost thou live by thy tabor? ... or, the church 
 
 Stands by thy tabor, if thy tabor stands by the church. — Tzti. N., iii. i. 
 You would never dance again after a tabor sxii pipe. — W. T,, iv. 3. 
 The shepherd knows not thunder from a tabor, more. — Coriol., i. 6. 
 Beat loud the tabourines, let the trumpets blow. — Tr. <&■ Cr., iv. 5. 
 Make mingle with our rattling tabourines. — Ant. &• C, iv. 8. 
 
 And now my tongue's use is to me no more, 
 
 Than an unstring'd viol, or a harp. — R. II., i. 3. 
 You 're a fair viol, and your sense the strings. — Per., i. i. 
 
 He plays o' the viol-de-gamboys, and speaks three or four languages word for word 
 without book. — Tw. N., i. 3. 
 
 He uses several terms for tunes, or pieces of music : — 
 
 Will you troll the catch you taught me. . . . This is the tune of our catch, played by 
 the picture. — Temp., iii. 2. 
 
 Now let 's have a catch. . . . Shall we rouse the night-owl in a catch. . . I am dog 
 at a catch. . ■ Let our catch be, " Thou knave." — Tw. N., ii. 3. 
 
 We did keep time in our catches. — Ibid., ii. 3. 
 
 Makes Welsh as sweet as ditties highly penn'd. — i H. IV., iii. i. 
 
 The ditty does remember my drown'd father. — Temp., i. 2. 
 
 And this ditty, after me, sing, and dance it. — Mid. N. D., v. 2. 
 
 Though there was no great matter in the ditty. — As You L., v. 3. 
 
 I framed to the harp many an English ditty. — i H. IV., iii. i. 
 
 For she doth welcome daylight with her ditty. — Pass. PH., Stanza 11. 
 
 And there sung the dolefull'st ditty .^Ibid., 15. 
 
 To their instruments tune a deploring dump. — Two G. of V., iii. 2. 
 
 Play me some merry dump, to comfort me. — Not a dump we ; 'tis no time to play 
 now. — R. &• Jul., iv. 5. 
 
 Sing no more ditties, sing no mo 
 
 Oi dumps so dull and heavy. — M. Ado, ii. 3 (Song). 
 
446 THE SHAKESPEARE KEY. 
 
 An old hat and " the humour of forty fancies " pricked in 't for a feather. — 
 Tarn, of S.. iii. 2. 
 
 And sung those tunes to the overscutched huswives that he heard the carman whistle, 
 and sware they were \A^ fancies or his good-nights. — 2 H. IV., iii. 2. 
 
 And profound Solomon tuning a. jig. — Love's L. L., iv. 3. 
 
 He 's for zjig, or a tale of bawdry, or he sleeps. — Hamlet, ii. 2. 
 
 All my merry jigs are quite forgot. — Pass. PH., Stanza 13. 
 
 Pull'd the poor wretch from her melodious lay to. — Hamlet, iv. 7. 
 
 Let the bird of loudest lay. — Phoenix &• Turtle, Stanza 1. 
 
 That she will light to listen to the lays. — 2 H. VI., i. 3. 
 
 She dances as goddess-like to her admired lays. — Per., v. (Gower). 
 
 Melodious birds sing madrigals. — Merry W., iii. i (Song). 
 
 Come, now, a roundel, and a fairy song. — Mid. N. D., ii. 3. 
 
 He employs some technicalities of musical execution : — 
 
 And bow'd her hand to teach her fingering. — Tam. of S., ii. i. 
 
 Madam, before you touch the instrument, 
 
 To learn the order of my fingering. — Ibid., iii. i. 
 
 Come, on, tune : if you can penetrate her with yam fngering, so. — Cym., ii. 3. 
 
 Govern these ventages with your finger and thumb. — Hamlet, iii. 2. 
 
 A sound, but not in government. — Mid. N. D., v. i. 
 
 And to the nightingale's complaining notes 
 
 Tune my distresses, and record my woes. — Tuio G. of V., v. 4. 
 
 Made the night-bird mute, that still records with moan. — Per., iv. [Gowcr]. 
 
 Will you troll the catch you taught me. — Temp., iii. 2. 
 
 And turn his merry note unto the sweet bird's throat. — As You L., ii. 5 {So7ig). 
 
 Let 's tune, and to it lustily a while. — Two G. of V., iv. 2. 
 
 How ? out of tune on the strings. — Not so ; but yet so false, that he grieves my 
 very heart-strings. — Ibid., iv. 2. 
 
 It is too sharp. . . . Nay, now you are too fiat. — Ibid., ii. i. 
 
 It is the lark that sings so out of tune. — R. &• Jul., iii. 5. 
 
 Like sweet bells jangled, out of tune and harsh. — Hamlet, iii. i. 
 
 And scald rhymers ballad us out tune. — Ant. &■ C, v. 2. 
 
 His lecture will be done, ere you have tuned. — Tam. of S., iii. i. 
 
 Though there was no great matter in the ditty, yet the note was very untuneable. — 
 You are deceived, sir; we kept time, we lost not our time. — As You L., v. 3. 
 
 We did keep time, sir, in our catches . . . out 0' time, sir .' ye lie. — Tw. N., ii. 3. 
 
 Still virginalling on his palm. — W. T., i. 2. 
 
 And several technicalities of musical nomenclature : — 
 
 'Tis now in tune. — All but the base. — The base is right. — Tam. of S., iii. i. 
 
 I have sounded the very base string of humility. — i H. IV., ii. 4. 
 
 Is there any one else longs to see this broken music* — As You L., i. 2. 
 
 Come, your answer in broken music. — H. V., v. 2. 
 
 Fair prince, here is good broken music. — Tr. & Cr., iii. i. 
 
 And boding screech-owls make the concert full ! — 2 H. VI., iii. 2. 
 
 Visit by night your lady's chamber-window with some sweet consort. — Two G. 
 of v., iii. 2. 
 
 Consort ! what, dost thou make us minstrels ? an thou make minstrels of us, look to 
 hear nothing but discords. . . . Zounds, consort I — R. &• jful., iii. i. 
 
 I never heard so musical a discord, such sweet thunder. — Mid. N. D., iv. i. 
 
 How shall we find the concord of this discord ? — Ibid., v. i. 
 
 * "Broken music" was an old English technicality for music performed on stringed 
 instruments. 
 
MUSICAL TERMS. 447 
 
 And chattering pies in dismal discord sung. — 3 H. VI., v. 6. 
 And mar the concord with too harsh a descant. — Two G. of V., i. 2. 
 For on that ground I '11 make a holy descant. — R. III., iii. 7. 
 Sung . . . with ravishing division to her lute. — i H. IV., iii. i. 
 Some say the lark makes sweet division. — R. &• Jul., iii. 5. 
 Well said, my lord ! well, you say so in jits. — Tr. &• Cr., iii. i. 
 In what key shall a man take you, to go in the song ? — M. Ado, i. i. 
 Both warbling of one song, both in one key. — Mid. N. D., iii. 2. 
 And with an accent tim'd in self-same key. — Tr. &• Cr., i. 3. 
 There wanteth but a mean to fill your song. — 
 The meati is drown'd with your unruly base. — Two G. of V., i. 2. 
 Nay, he can sing a mean most meanly. — Love's L. L., v. 2. 
 They are most of them means and bases. — W. T., iv. 2. 
 The choir, with all the choicest music of the kingdom. — H. VIII., iv. i. 
 Bid the music leave, they are harsh and heavy to me. — Ibid., iv. 2. 
 What music is this ? — I do but partly know, sir : it is music in parts. — Tr. &• Cr., iii. r. 
 My lessons make no music in three parts. — Tarn, of S., iii. i. 
 
 See if thou canst find out Sneak's noise ; Mistress Tear-sheet would fain hear some 
 music. — 2 H. IV., ii. 4. 
 
 The plain-song cuckoo gray. — Mid. N. D., iii. i (Song). 
 
 That is the very plain-song of it. — The plain-song is. — H. V., iii. 2. 
 
 May bring his plain-song, and have an hour of hearing. — H. VIII., i. 3. 
 
 He fights as you sing prick-song, keeps time. — R. &• jfnl., ii. 4. 
 
 More than light airs, and recollected terms. — Tw. N., ii. 4. 
 
 But screw your courage to the sticking-place. — Macb., i. 7. 
 
 Three-man songmen all, and very good ones. — W. T., iv. 2. 
 
 O fie ! the treble jars. — Tarn, of S., iii. i. 
 
 In the following passage, Shakespeare uses a word that has been 
 supposed to be the commencement of some song ; but we rather 
 believe " Concolinel " to be a few syllables strung together by the 
 dramatist to express warbling, or humming a tune, — as ' la Ii ra,' ' fal, 
 lal, lal, la,' or ' fol de rol lol ' are used : — 
 
 Warble, child ; make passionate my sense of hearing. — Concolinel. — Sweet air I — 
 Love's L. L., iii. i. 
 
 Shakespeare alludes to and employs some of the burdens formerly 
 introduced into songs : — 
 
 With such delicate burdens of "dildos" and "fadings," "jump her and thump 
 her."— W. r., iv. 3. 
 Ding-dong. Hark, now I hear them — ding-dong, bell. — Temp., i. 2 (Song). 
 Let us all ring fancy's knell ; 
 I '11 begin it, ding-dong, bell. 
 Ding-dong, bell. — Mer. of V., iii. 2 [Song) . 
 Heigh, ho ! sing, heigh, ho ! unto the green holly ; 
 Most friendship is feigning, most loving mere folly : 
 Then heigh, ho 1 the holly ! — As You £., ii. 7 {Song). 
 Philomel, with melody, 
 Sing in our sweet lullaby ; 
 
 Liilla, lulla, lullaby ; lulla, lulla, lullaby. — Mid. N. D.,ii. 3 (Song). 
 Then, lullaby, the learned man hath got the lady gay ; 
 For now my song is ended. — Pass. PH., Stanza 12. 
 Converting all your sounds of woe 
 Into Hey, nonny, nonny. — M. Ado, ii. 3. 
 
448 THE SHAKESPEARE KEY. 
 
 With a hey, and a ho, and a hey nonino. — As You L., v. 3, 
 They bore him bare-fac'd on the bier ; 
 Hey nan nonny, nonny, hey uonny. — Hamlet, iv. 5 [Song). 
 Says suum, mun, nonny. — Lear, iii. 4. 
 
 He has expressed some birds' notes by written words : — 
 
 Hark, hark ! I hear 
 
 The strain of strutting chanticleer 
 
 Cry, Cock-a-doodle-doo. — Temp., i. 2 (Song). 
 
 Save the nightingale alone . . . 
 
 " Fie, fie, fie," now would she cry; 
 
 " Tereu, Tereu ! " by-and-by. — Pass. PH., Stanza 15. 
 
 The lark, that tirra-lirra chants. — W. T., iv. 2 {Song). 
 
 Then nightly sings the staring owl, 
 
 To-who ; tu-whit, to-ivho, a merry note. — Love's L. L., v. 2 (Song). 
 
 He employs some of the technical terms for certain musical flourishes 
 on bugles or hunting-horns, and on trumpets : — 
 
 Hunting thee hence with hunt's up to the day. — R. &• ^ul., iii. 5. 
 And then to sigh, as 'twere the mort 0' the deer. — W. T., i. 2. 
 But that I will have a recheat winded in my forehead, or hang my bugle in an 
 invisible baldrick. — M. Ado, i. i. 
 
 Sennet. Enter to the Parliament, Kino Henry. — 2 H. VI., iii. i. 
 Sennet. The Lords come forward. — 3 H. VI.. i. i. 
 Trumpets, sennet, and cornets. Enter two Vergers. — H. VIII., ii. 4. 
 A sennet sounded. Enter C^sar, Antony, Lepidus, Pompey, &c. — Ant.&'C.,i\.-. 
 A tucket sounds. — Mer. of V., v. i. 
 Tucket within. — Lear, ii. i. 
 Tucket within. — Ibid., ii. i, and ii. 4. 
 Then let the trumpets sound the tucket-sonance. — H. V., iv. 2. 
 
 Shakespeare makes more than one allusion to the custom of illustrious 
 personages being preceded, when they arrive, by a peculiar flourish on 
 the trumpet : — 
 
 Your husband is at hand ; I hear his trumpet. — Her. of V., v. i. 
 
 And even there, methinks an angel spake : * 
 
 Look, where the holy legate comes apace. — John, v. 2 
 
 What lusty trumpet thus doth summon us ? — Ibid., v. 2. 
 
 What trumpet ? look, Menelaus. — From Troy. — Tr. &• Cr., i. 3. 
 
 What trumpet 's that ? — 'Tis Alcibiades. — Timon, i. i. 
 
 Hark, the duke's trumpets ! I know not why he comes. — Lear. ii. i. 
 
 What trumpet 's that ? — I know 't — my sister's : this approves her letter, 
 
 That she would soon be here. — Ibid., ii. 4. 
 
 The Moor! / know his trumpet. — 0th., ii. i. 
 
 What trumpet is that same ? — Something from Venice, sure. — Ibid., iv. i. 
 
 And also to the custom of players, or performers in a masque, being 
 preceded on arrival by a flourish of trumpets : — 
 The trumpets sound: be mask'd ; the maskers come. — Love's L. L., v. 2. 
 
 * We believe these words to indicate that a trumpet sounds, heralding the approach 
 of Pandulph, the Pope's legate ; as " what lusty trumpet," &c., announces the 
 approach of Faulconbridge. 
 
OATHS, EXCLAMATIONS, &-c. 449 
 
 Sirrah, go see what trumpet 'tis that sounds : 
 Belike, some noble gentleman that means. 
 Travelling some journey, to repose him here. 
 How now ! who is it ? — An it please your honour. 
 Players that offer service to your lordship. — Tain, of S., Indue, i. 
 IFlourish of trumpets within.'] — There are the players. — Hamlet, ii. 2. 
 Shakespeare, in the following passage, makes allusion to a celebrated 
 musician of his time : — 
 
 Dowland to thee is dear, whose heavenly touch 
 
 Upon the lute doth ravish human sense. — Pass. PH., Stanza 6. 
 
 And, in the following passages, he points out persons of particular 
 callings said to be specially addicted to music : — 
 
 Shall we rouse the night-owl in a catch, that will draw three souls out of one 
 weaver? — Tw. N., ii. 3. 
 
 Do ye make an alehouse of my lady's house that ye squeak out your coziers' catches. 
 — Ibid., ii. 3. 
 
 I would I were a weaver; I could sing psalms or anything. — i H. IV., ii. 4. 
 
 I will not sing. — 'Tis the next way to turn tailor, or be redbreast teacher. — Ibid., iii. i. 
 
 OATHS, EXCLAMATIONS, &c. 
 
 The variety and extreme appropriateness of the oaths, exclamations, 
 interjections, ejaculations, imprecations, adjurations, and forms of 
 asseveration used by Shakespeare are especially interesting as a study 
 in dramatic fitness and philological resource. Most characteristically 
 does he put different invocations or exclamatory phrases into the 
 mouths of certain of his characters : — 
 
 Grace go with you ! Benedicite I — M.for M., ii. 3. 
 Good-morrow, father. — 
 
 Benedicite I — R. Sy jful., ii. 3. 
 
 The above expression of combined blessing and salutation the 
 dramatist assigns, in the first instance, to the benignant friar-duke, 
 and, in the second instance, to the benevolent Friar Laurence. 
 God's bread ! it makes me mad. — Ibid., iii. 5. 
 
 The above solemn expression is uttered by the irate old Capulet, as 
 we hear it used, to this day, by Italian quarrellers in Italian form — 
 "per V Ostia." 
 
 yesu Maria! what a deal of brine hath wash'd. — Ibid., ii. 3. 
 
 The dramatist, with marked propriety, gives the above exclamation 
 to an Italian friar, as it is one exclusively belonging to Catholic coun- 
 tries. It is a contracted form of jfesu-Marice, 'Jesus of Mary,' or 
 ' Jesus the son of Mary.' 
 
 Holy Saint Francis ! what a change is here ! — Ibid., ii. 3. 
 
 Saint Francis be my speed ! how oft to-night have my. — Ibid., v. 3. 
 
 It will at once be perceived how aptly the above exclamations are 
 uttered by a Franciscan friar. 
 
 Saint Denis be my speed ! — H. V., v. 2. 
 
 Saint Denis bless this happy stratagem ! — i H. VI., iii. 2. 
 
 2 G 
 
45° THE SHAKESPEARE KEY. 
 
 In the first of the above two instances Harry of England invokes the 
 patron saint of France to aid him in his attempts to woo in French ; and, 
 in. the second, Charles, the French Dauphin, asks a blessing from the 
 patron saint of his native land. 
 
 This proves that thou canst not read. — 
 
 Come, fool, come : try me in thy paper. — 
 
 There; and Saint Nicholas be thy speed I — Two G. ofV., iii. i. 
 
 Launce asks for his fellow-servant's assistance in reading from " St. 
 Nicholas," because he was the patron saint of children and scholars. 
 Yes, by Saint Patrick, but there is, Horatio. — Hamlet, i. 5. 
 This saint being the patron saint of Ireland, and Ireland having been 
 in ancient times a famed seat of learning whence the whole northern 
 world derived their erudition, there is peculiar fitness in making the 
 studious Danish Prince use this form of affirmation, 
 
 Now, by Saint Paul, this news is bad indeed. — R. III., i. i. 
 Or, by Saint Paul, I '11 make a corse of him that disobeys ! . . . 
 Or, by Saint Paul, I '11 strike thee to my foot. — Ibid., i. 2. 
 By holy Paid, they love his grace but lightly. — Ibid., i. 3. 
 Now, by Saint Paul I szvear, I will not dine until I. — Ibid., iii. 4. 
 By the Apostle Paul, shadows to-night have struck. — Ibid., v. 3. 
 
 Shakespeare makes Richard six times swear thus, " Paul " being b}' 
 tradition the saint habitually invoked by that monarch. 
 
 All 's one. Good father J how foolish are our minds ! — 0th., iv. 3. 
 
 Into the mouth of "the gentle Desdemona " is this gently reliant 
 aspiration most aptly placed. 
 
 Name of mercy ! when was this, boy ? — W. T., iii. 3. 
 It is the old shepherd who uses the above simply beautiful adjuration. 
 
 By my Christendom, 
 So I were out of prison, and kept sheep, 
 I should be as merry as the day is long. — yohn, iv. i. 
 
 On the lips of poor little Prince Arthur the above phrase has an 
 infantinely pious effect, thoroughly natural and touching. 
 
 Now, by two-headed yanus, Nature hath fram'd strange. — Her. of V., i. i. 
 By Janus, I think no. — 0th., i. 2. 
 
 In the former of the above two passages it is Salarino, in the latter 
 lago (both Venetians), who use this oath; and it is still an Italian habit 
 to use mythological names in adjuration. 
 
 Gods, gods ! 'tis strange, that from their cold'st neglect. — Lear, i. i. 
 
 O gods ! who is 't can say, I am at the worst. — Ibid., iv. i. 
 
 O gods ! he has the stamp of Marcius ! — Coriol., iv. i. 
 
 gods and goddesses ! these flowers are like the. — Cym., iv. 2. 
 
 By the gods, it is one. — Ibid., i. 5. 
 
 The gods ! it smites me beneath the fall I have. — Ant. &• C.,v. 2. 
 
 the gods I what 's the matter ? — Tr. &• Cr., iv. 2. 
 
 me, the gods / you must not speak of that. — Coriol., ii. 3. 
 
 O the blest gods J so will you wish on me, when. — Lear, ii. 4. 
 
 the good gods ! — Nay, that is certain. — Ant. <&• C, v. 2. 
 
OATHS, EXCLAMATIONS, S-c. 45i 
 
 Ye gods, it doth amaze me, a man of such. — ynl. C, i. 2. 
 O ye gods, render me worthy of this noble wife! — Ibid., ii. i. 
 In all the above passages " gods " is put thus plurally and appro- 
 priately into the mouths of those who lived in pagan times. 
 
 What may be sworn by, both divine and human. 
 Seal what I end withal ! — CorioL, iii. i. 
 
 This form of attestation is peculiarly well given to Coriolanus, since 
 we are informed that the Romans swore by what was human as well as 
 divine ; by their head, by their eyes, by the dead bones and ashes of 
 their parents, &c. 
 
 Pluto and hell ! all hurt behind ! — Ibid., i. 4. 
 
 It is the same Coriolanus who employs the above appropriately 
 heathen execration. 
 
 Welcome to Troy ! now, by Anchiscs' life. 
 
 Welcome, indeed ! By Venus' hand I swear. 
 
 No man alive can love, in such a sort. — Tr. &• Cr., iv. i. 
 
 ^neas first swears by his father Anchises' life, which was so dear to 
 him that when Troy was burning and the old man was too infirm to fly, 
 the son took his parent on his shoulders and bore him safely away ; 
 and, secondly, by the hand of the goddess (his reputed mother), which 
 had received a wound from Diomed when she took part in one of the 
 encounters during the Trojan war. 
 
 To prove to you that Helen loves him — she came, and puts me her white hand to 
 his cloven chm, — 
 
 yuno have mercy ! how came it cloven ? — 
 Why, you know, 'tis dimpled. — Ibid., i. 2. 
 
 Cressida, pretending to take her uncle's expression of " cloven chin " 
 as involving a charge of bodily defect, deprecates the power of "Juno," 
 in her attribute of presiding goddess of childbirth. 
 
 My boy Marcius approaches ; for the love of Juno, let 's go. — CorioL, ii. i. 
 
 Volumnia, as a proud Roman mother, naturally invokes the name of 
 the matron-goddess. 
 
 By jfuno, that is queen 
 
 Of marriage, all the viands that I eat 
 
 Do seem unsavoury, wishing him my meat. — Per., ii. 3. 
 
 This is said aside by Thaisa, when falling in love with Pericles, at 
 the banquet. 
 
 Jupiter ! how weary are my spirits ! — As You L., ii. 4. 
 
 O most gentle jfupiter ! what tedious homily of love have you wearied your 
 parishioners withal. — Ibid., iii. 2. 
 
 In both the above passages, Rosalind invokes "Jupiter" as the god 
 of good spirits ; in which capacity, and under his name of 'Jove,' he 
 gave origin to the word 'jovial.' 
 
 By yupiter, I had it from her arm. — 
 
 Hark you, he swears ; by yupiter he swears. 
 
 'Tis true ; — nay, keep the ring — 'tis true. — Cym., ii. 4. 
 
 Thus making Posth'umus impressed by the solemnity of the oath, 
 when lachimo swears " by Jupiter," is most characteristic; for, besides 
 
 2 G 2 
 
452 THE SHAKESPEARE KEY. 
 
 that swearing by the father of gods and men was held to be among the 
 most binding of all vows, it is naturally of peculiar strength to Posthumus, 
 who (as we find from a passage in act v., sc. 4) was born under Jove's 
 own. star, and who was married in Jove's own temple. 
 
 By the fire that quickens Nilus' slime, I go from hence. — Ant. &• C, i. 3. 
 
 Moon and stars ! Whip him. — Ibid., iii. 11. 
 
 Mark Antony's use of the two above-quoted oaths is as characteristic 
 of Roman usage as Coriolanus's form of attestation (" What may be 
 sworn by, both divine and human"), which we have previously given 
 and commented upon. 
 
 Apollo, perfect me in the characters ! — Per., iii. 2. 
 
 Come, come ; and Msculapius guide us ! — Ibid., iii. 2. 
 
 Appropriately is the learned and benevolent Cerimon made, in the 
 first of the above two passages, to invoke the aid of the god of letters 
 and erudition, when about to read the scroll which may be written in an 
 unknown language, and, in the second, to implore succour of the god of 
 medicine, when essaying to avert " relapse " from befalling the just- 
 rescued Thaisa. 
 
 O, dear Diana, where am I ? where 's my lord. — Ibid., iii. 2. 
 
 The dramatist's putting this invocation into Thaisa's mouth on her 
 first awakening from her trance is subtly appropriate : her calling upon 
 the virgin goddess's name serves to suggest, the young princess so few 
 months a wife, that her maiden appeals for divine aid spring most 
 naturally to her lips, and also serve to aptly usher in the subsequent 
 dedication of herself, as a votaress in Diana's temple. 
 
 Shakespeare frequently employs some of the minor oaths that were 
 in vogue when he wrote, taking the place of more sacred forms of 
 adjuration : — 
 
 By day and night, he 's traitor to the height. — H. VIII., i. 2. 
 
 day and night, but this is wondrous strange ! — Hamlet, i. 5. 
 
 By this good day, I know not the phrase. — 2 H. IV., iii. 2. 
 
 But, in defence, by mercy, 'tis most just. — Timon, iii. 5. 
 
 By these ten bones, my lords, he did speak. — 2 H. VI., i. 3. 
 
 So I do still, by these pickers and stealers. — Hamlet, iii. 2. 
 
 By this hand, I will supplant some of your teeth. — Temp., iii. 2. 
 
 By this hand, they are scoundrels and substractors. — Tw. N., i. 3. 
 By these gloves, did he ... by these gloves . . . 
 By these gloves, then, 'twas he. Merry W., i. i. 
 
 By this hat, then, he in the red face had it. — Ibid., i. i. 
 
 Seven, by these hilts, or I am a villain else. — i H. IV., ii. 4. 
 
 Now, by my sword, I will kill all his coats. — Ibid., v. 3. 
 
 Now, by my sword, well hast thou fought to-day. — 2 H. VI., v. 3. 
 
 By this sword, he that makes the first thrust. I '11 kill him ; by this sword, I will. — 
 Sword is an oath, and oaths must have their course. — H. V., ii. i. 
 
 By my troth, and in good earnest, and so God mend me, and by all pretty oaths that 
 are not dangerous. — As You L., iv. i. 
 
 By my troth, I would not undertake her. — Tu\ N.. i. 3. 
 
 By my troth, the fool has an excellent breast. — Ibid., ii. 3. 
 
 By yea and nay, sir, then I swore in jest. — Love's L. L., i. i. 
 
OATHS, EXCLAMATIONS, &c. 453 
 
 By yea and' nay, sir, I dare say, my cousin. — 2 H. IV., iii. 2. 
 Sir, I thank you ; by yea and no, I do. — Merry W., i. i. 
 By yea and no, I think the 'oman is a witch. — Ibid., iv. 2. 
 
 No, I thank you, /oMoo//j, heartily; I am very well. . . . I am not a-hungry, I thank 
 yon, forsooth. — Ibid., i. i. 
 
 No, no, forsooth ; I dare not, for my life. — Tarn, of S., iv. 3. 
 
 No, sooth, sir: my determinate voyage is. — Tw. N., ii. i. 
 
 In sooth, thou wast in very gracious fooling. — Ibid., ii. 3. 
 
 Well drawn, monster, in good sooth. — Temp., ii. 2. 
 
 Very sooth, to-morrow. — W. T., i. 2. 
 
 For the heavens, he shows me where the bachelors sit. — M. Ado, ii. i. 
 
 For the heavens, rouse up a brave mind. — Mer. of V., ii. 2. 
 
 No notes of sally,/o»- the heavens, sweet brother. — Tr. &• Cr., v. 3. 
 
 And he often uses petty oaths that were corruptions of serious ones : — 
 Bodykins [God's body] Master Page, though I now. — Merry W., ii. 3. 
 God's bodikins [God's body], man, much better. — Hamlet, ii. 2. 
 By cock [by God], they are to blame. — Ibid., iv. 5 [Song). 
 By cock andpye [by God and Pie*], you shall not choose. — Merry W., i. i. 
 By cock and pye, sir, you shall not away to-night. — 2 H. IV., v. i. 
 Cock' s passion [God's passion], silence! I hear my master. — Tarn, of S., iv. i. 
 Cox' my passion [God's passion] ! give me your hand. — All's W., v. i. 
 By my fay [by my faith], a goodly nap. — Tarn, of S., Indue. 2. 
 By my fay, it waxes late : I '11 to my rest. — R. &• ful., i. 5. 
 For, by my fay, I cannot reason. — Hamlet, ii. 2. 
 By Gis [Jesus], and by Saint Charity. — Ibid., iv. 5 [Song). 
 
 By God's sonties [Saints : in old language, ' saunctes'], 'twill be. — Mer. of V., ii. 2. 
 Ay, hy gogs-wouns [God's wounds] ! quoth he. — Tarn, of S., iii. 2. 
 By my halidom [holy-dom ; or holiness], I was fast asleep. — Two G. of V., iv. 2. 
 By my holidame [Holy Dame; or Blessed Lady], here comes. — Tam. of S., v. 2. 
 Now, by my hood [manhood ; or knighthood], a Gentile. — Mer. of V., ii. 6. 
 By 'r lady [by our Lady], sir, and some dogs. — Tw. N., ii. 3. 
 And, by 'r lady, held current music too. — H. VIII., i. 3. 
 By 'r lakin [by our Lady], I can go no farther. — Temp., iii. 3. 
 By 'r lakin, a parlous fear. — Mid. N. D., iii. i. 
 
 Ay, my good lord. —I 'fecks [In faith] ? Why, that 's my. — W. T., i. 2. 
 Yea, marry [by Mary], that's the eftest way. — M. Ado, iv. 2. 
 Marry, so I mean, sweet Katharine. — Tarn, of S., ii. i. 
 Od's body [God's body], the turkeys in my pannier. — i H. IV., ii. i. 
 Od's heartlings [God's heart], that's a pretty jest, indeed! — Merry W., iii. 4. 
 Od's Ufelings [God's life], here he is ! — Tw. N., v. i. 
 Od's my little life [God's life] ! I think she means. — As Yon £,., iii. 5. 
 Od's me [God's blessing be upon me ; or God save me] ! Qu'ai-je oublie ? dere is 
 some simples in my cXo&sl.— Merry W., i. 4. 
 
 Because they say, od's nouns [God's wounds]. — Ibid., iv. i. 
 Od's pittikins [God's pity] ! can it be six miles yet ? — Cym., iv. 2. 
 Od's plessed will [God's blessed will] ! I will not be. — Merry \V., i. 1 
 Od's my will [God's will] I her love is not the. — As You L., iv. 3. 
 Perdy [French : par Dieu], your doors were iock'd. — Com. of E., iv. 4. 
 My lady is unkind, perdy. — Tw. N., iv. 2. 
 
 ' " Pie,'' was the familiar English name given to the book which ordained the 
 manner of saying and solemnizing the offices of the Roman Catholic church. 
 
454 THE SHAKESPEARE KEY. 
 
 Yea, in thy maw, perdy. — H. V., ii. i. 
 Why, then, belike, he likes it not, perdy. — Hamlet, iii. 2. 
 The fool no knave, perdy. — Lear, ii. 4. 
 
 'Sblood [God's blood] ! I '11 not bear my own flesh. — i H. IV., ii. 2. 
 'Sblood, my lord, they are false.— /i(V., ii. 4. 
 ^Sblood, I would my face were in your belly. — Ibid., iii. 3. 
 'Sfoot [God's foot], I'll learn to conjure and raise devils. — Tr. &• Cr., ii. 3. 
 'Slid [God's eye-Hd : or God's lid, possibly in allusion to the cover of the vessel con- 
 taining the Host], 'tis but venturing. — Merry W., iii. 4. 
 'Slid, I 'II after him again, and beat him. — Tw. N., iii. 4. 
 'Slight [God's light], I could so beat the rogue ! — Ibid., ii. 5. 
 'Slight, will you make an ass o' me ? — Ibid., iii. 2. 
 'Swounds [God's wounds], show me what thou 'It do. — Hamlet, v. i. 
 Zounds [God's wounds], will they not rob us? — i H. IV., ii. 2. 
 Zounds I an I were now by this rascal. — Ibid., ii. 3. 
 Zounds ! ye fat paunch, an ye call me coward. — Ibid., ii. 4. 
 
 In the following three passages Shakespeare satirises various pecu- 
 liarities of his time, in connection with oaths and oath-taking. In the 
 first, he satirises a silly fashion of using some special much-hacked 
 oath : — 
 
 I pray you, sir, are you a courtier ? — 
 
 O Lord, sir ! . . . that loves you. — Lord, sir ! . . . this homely meat. — Lord, 
 sir! . . . &c., &c.— All's W., ii. 2. 
 
 In the second, he satirises aristocratic objection to plebeian and paltry 
 oaths : — 
 
 Not mine, in good sooth. — 
 
 Not yours, in good sooth ! 'Heart, you swear like a comfit-maker's wife ! " Not you, 
 in good sooth : " and, " As true as I live," and, " As God shall mend me ; " and, " As 
 sure as day ; " and giv'st such sarcenet surety for thy oaths, as if thou never walk'dst 
 farther than Finsbury. Swear me, Kate, like a lady as thou art, a good mouth-filling 
 oath ; and leave " in sooth," and such protest of pepper gingerbread, to velvet-guards 
 and Sunday citizens. — i H. IV., iii. i. 
 
 And in the third, he satirises those blustering personages who affect 
 a habit of swearing as a mark of gentility : — 
 
 When a gentleman is disposed to swear, it is not for any standers-by to curtail his 
 oaths, ha ? — Cym., ii. i. 
 
 In several passages Shakespeare characteristically introduces French 
 oaths : — 
 Dr. Caius. diable ! diable ! vat is in my closet ? — Merry W., i. 4. 
 Dr. Caius. Diable ! Jack Rugby, mine host de Jarretiere. — Ibid., iii. i. 
 Cotisiable of France. O diable ! — H. V., iv. 5. 
 Princess Kathatine. O bon Dieti ! — Ibid,, v. 2. 
 
 Constable of France. Dieu de batailles ! where have they. — Ibid., iii. 5. 
 Dauphin. O Dieu vivant ! shall a few. — Ibid., iii. 5. 
 French Soldier. O Seigneur Dieu ! — Ibid., iv. 4. 
 Duke of Orleans. Seigneur! — Ibid., iv. 5. 
 
 Earl of Warwick. Anjou and Maine ! myself did win them both ; 
 
 Those provinces these arms of mine did conquer : 
 
 And are the cities, that I got with wounds, 
 
 Deliver'd up again with peaceful words ? 
 
 Mort Dieu!— 2 H. VI., i. i. 
 Duke of Bourbon. Mort de ma vie! if they march. — H. V., iii. 5. 
 
OATHS, EXCLAMATIONS, &c. 
 
 Dauphin. Mart de ma vie ! all is confounded, all. — H. V., iv. 5. 
 Parolles. Mart du vinaigre ! is not this Helen ? — AlVs W., ii. 3- 
 
 Shakespeare employs very many peculiar ejaculations and impre- 
 cations : — 
 
 On a day, — alack the day 1 — Love's L. L., iv. 3 [Verses). 
 
 Alack the heavy day ! that I have worn so. — R. II., iv. i. 
 
 Alas the day ! I know not. — Merry W., iv. 2. 
 
 Alas the day I what good could they pretend ? — Macb., ii. 4, 
 
 Alas the day ! I never gave him cause. — 0th., iii, 4. 
 
 O well-a-day, Mistress Ford [—Merry W., iii. 3. 
 
 O well-a-day, lady, if he be not drawn \—H. V., ii. i. 
 
 Ah well-a-day ! he 's dead, he 's dead. — R. &• yul., iii. 2. 
 
 well-a-day, that ever I was born !: — Ibid., iv. 5. 
 
 When, well-a-day, we could scarce help ourselves. — Per., ii. i. 
 
 The lady shrieks, and, well-a-near ! does fall. — Ibid., iii. (Gower). 
 
 O, woe the day ! — No harm. — Temp., i. 2. 
 
 But, alas the while ! If Hercules and Lichas. — Mer. of V., ii. i. 
 
 Woe the while ! O, cut my lace. — W. T., iii. 2. 
 
 But, woe the while! our fathers' minds are dead. — yul. C, i. 3. 
 
 God help the while ! a bad world, I say. — i H. IV., ii. 4. 
 
 Ay, sir, it is too true ; God help the while ! — R. III., ii. 3. 
 
 Three foot of it doth hold : bad world the while ! — yohn, iv. 2. 
 
 Here 's a good world the while ! Who is so gross. — R. III., iii. 6. 
 
 Lord help us ! it is a world to see ! — M. Ado, iii. 5. 
 
 Alas, and woe ! — Ant. &■ C, iv. 12. 
 
 Loop to hang a doubt on ; or woe upon thy life ! — 0th., iii. 3. 
 
 / am woe for' t, sir. — Temp., v. i. 
 
 Ah, woe is me for Gloster, wretched man ! — 
 
 Be woe for me, more wretched than he is. — 2 H. VI., iii. 2. 
 
 O, woe is me ! To have seen what I have seen. — Hamlet^ iii. i. 
 
 'Fore me, I speak in respect. — All's W., ii. 3. 
 
 'Fore me, this fellow speaks ! — Coriol., i. i. 
 
 Afore me, it is so very late, that we. — R. 6- jfuL, iii. 4. 
 
 Now, afore me, a handsome fellow ! — Per., ii. i. 
 
 Before me, she 's a good wench. — Tw. N., ii. 3. 
 
 Before me '. look where she comes. — 0th., iv. i. 
 
 'Fore Heaven, an excellent song. — Ibid., ii. 3. 
 
 'Fore God, you have here a goodly dwelling. — 2 H. IV., v. 3. 
 
 Now, afore God, I am so vexed, that every. — R. &• jfnl., ii. 4. 
 
 Now, afore God, this reverend holy friar. — Ibid., iv. 2. 
 
 For, God before, we '11 chide this Dauphin. — H. V., i. 2. 
 
 Yet, God before, tell him we will come on. — Ibid., iii. 6. 
 
 Ah me, unhappy ! To be a queen.— 2 H. VI., iii. 2. 
 
 Where is thy head ? where 's that ? Ah me ! where 's that ? — Cym., iv. 2. 
 
 me ! the word choose ! — Mer. of V., i. 2. 
 
 Body 0' me, where is it ? — H. VIII., v. 2. 
 
 God's me \_See " Od's me," previously explained], my horse. — i H. IV., ii. 3. 
 
 r the name of me, — 0, help me, help me ! — W. T., iv. 2. 
 
 Who {God bless the mark !) is a kind of devil. — Mer. of V., ii. 2. 
 
 And I {God bless the mark !) his Moorship's ancient. — 0th., i. i. 
 
 Of guns and drums and wounds {God save the mark .') — i H. IV., i. 3. 
 
455 THE SHAKESPEARE KEY. 
 
 I saw the wound, I saw it with mine eyes, 
 
 (God save the mark .') here on his manly breast. — R. &• jftil., iii. 2. 
 For lovers, lacking [God warn us!) matter, the cleanliest. — As You L., iv. i. 
 Well, God Held you ! They say the owl was a. — Hamlet, iv. 5. 
 God Hid you, for your last company. — As You L., iii. 3. 
 God Hid you, sir, I desire you of the like. — Ibid., v. 4. 
 How you shall bid God yield us for your pains. — Macb., i. 6. 
 Heaven shield, my mother play'd my father fair ! — M. for M., iii. i. 
 To bring in [God shield us I) a lion among ladies. — Mid. N. D., iii. i. 
 God shield, you mean it not! — All's W., i. 3. 
 God shield, I should disturb devotion ! — R. &• Jul., iv. i. 
 God-a-mercy, old heart, thou speak'st cheerfully. — H. V., iv. i. 
 God for his merey ! what a tide of woes. — R. II., ii. 2. 
 God for his mercy, what treachery is here ! — Ibid., v. 2. 
 0, / cry you mercy ; you are the singer. — R. &• yul., iv. 5. 
 Cry you mercy, I took you for a joint-stool. — Lear, iii. 6. 
 Grace to boot ! Of this make no conclusion. — W. T., i. 2. 
 This, and Saint George to boot ! What think'st thou — R. III., v. 3. 
 
 The bounty and benison of Heaven 
 
 To boot, and boot I — Lear, iv. 6. 
 
 Now, by the death of Him, that died for all. 
 
 These counties were the keys of Normandy. — 2 H. VI., i. i. 
 Nay, by the mass, that he did not. — Merry W., iv. 2. 
 But, by the mass, our hearts are in the trim. — H. V., iv. 3. 
 'Mass, thou lov'dst plums well, that wouldst venture so. — 2 H. VI., ii. i. 
 To 't. — Mass, I cannot tell. — Cudgel thy brains no more. — Hamlet, v. i. 
 An early stirrer, by the rood. — 2 H. IV., iii. 2. 
 Nay, by the rood, she could have run. — R. &• Jul., i. 3. 
 No, by the rood, not so : you are the queen. — Hamlet, iii. 4. 
 But, by the holy rood, I do not like these. — R. III., iii. 2. 
 Good my complexion ! dost thou think. — As You L., iii. 2. 
 O, a good wish upon you I you will try in time. — Ibid., i. 3. 
 We must give folks leave to prate : what the good year I — Merry W., i. 4. 
 What the good year, my lord ! why are you. — M. Ado, ii. 3. 
 What the good year ! one must bear. — 2 H. IV., ii. 4. 
 What the good year ! do you think I would. — Ibid., ii. 4. 
 What 0' devil's name, tailor, call'st thou this ? — Tarn, of S., iv. 3. 
 What the devil should move me to undertake. — All's W., iv. i. 
 I cannot tell what the dickens his name is. — Merry W., iii. 2. 
 What a plague means my niece, to take. — Tw. N., i. 3. 
 What a plague have I to do with a buff jerkin ? — H. IV., i. 2. 
 What a plague mean ye to colt me thus ? — Ibid., ii. 2. 
 What a plague call you him ? — Ibid., ii. 4. 
 
 What the vengeance, could he not speak them fair ? — Coriol., iii. i. 
 But what though ? Courage ! — As You L., iii. 3. 
 The bull has the game ! 'ware horns, ho ! — Tr. &• Cr., v. 8. 
 'Ware pencils, ho ! let me not die your debtor. — Love's L. L., v. 2. 
 The gods rebuke me, but it is tidings to wash. — Ant. &• C, v. i. 
 Would I might be dead, if I in thought felt not. — Two G. of V., iv. 4. 
 Would I were dead, but that, methinks, already. — W. T., v. 3. 
 Would I were dead ! if God's good will were so. — 3 H. VI., ii. 5. 
 Ay, or else / would I might be hanged, la. — Merry W., i. i. 
 
OATHS, EXCLAMATIONS, &-c. 457 
 
 Would I were hanged, la, else. — Merry W., v. 5. 
 
 Would I were hanged, but I thought there was. — Coriol., iv. 5. 
 
 But / HI be hang'd, sir, if he wear your livery. — R. &• jful., iii. i. 
 
 I will be hang'd, if some eternal villain. — 0th,, iv. 2. 
 
 Beshrew me, but you have a quick wit. — Two G. of V., i. i. 
 
 Beshrew me, but I love her heartily. — Mer. of V., ii. 6. 
 
 Beshrew my heart, but I pity the man. — Mid. N. D., v. i. 
 
 Beshrew my soul, but I do love the favour. — fohn, v. 4. 
 
 Beshrew him for it ! How comes this trick upon him ! — 0th., iv. 2. 
 
 Beshrew Ins hand, I scarce could understand it. — Com. of E., ii. i. 
 
 Beshrew thee, cousin, which didst lead me. — R. II., iii. 2. 
 
 Beshrew your eyes, they have o'erlook'd me. — Mer. of V., iii. 2. 
 
 Beshrew the witch ! with venomous wights. — Tr. &• Cr., iv. 2. 
 
 'Shrew me, if I would lose it for a revenue. — Cym., ii. 3. 
 
 'Shrew my heart, you never spoke what did. — W. T., i. 2. 
 
 Ha ! bats on 't, 'tis come at last. — Per., ii. i. 
 
 Plague on 't, an I thought he had been valiant. — Tw. N., iii. 4. 
 
 Pox on 't, I '11 not meddle with him. — Ibid., iii. 4. 
 
 A pox on't, let it go ; 'tis but a drum. — All's W., iii. 6. 
 
 A murrain on 't ! I took this for silver. — Coriol., i. 5. 
 
 A murrain on your monster, and the devil take your fingers ! — Temp., iii. 2. 
 
 A red murrain 0' thy jade's tricks I — Tr. &• Cr., ii. i. 
 
 The red plague rid you, for learning me your language ! — Temp., i. 2. 
 
 Now the red pestilence strike all trades in Rome. — Coriol., iv. i. 
 
 Come away, or I '11 fetch thee with a wannion. — Per., ii. i. 
 
 Here 's packing, with a witness, to deceive us all ! — Tarn, of S., v. i. 
 
 In several passages Shakespeare shows how "Jove" was often used 
 by Christians; and even, sometimes, side by side with "God" or 
 "Lord": — 
 
 Why, all the souls that were, were forfeit once ; 
 And He that might the vantage best have took, 
 Found out the remedy. How would you be, 
 liHe, which is the top of judgment, should 
 But judge you as you are ? . . . 
 Could great men thunder 
 
 As yove himself does, yove would ne'er be quiet. — M.for M., ii. 2. 
 By yove ! I always took three threes for nine. — 
 
 O Lord ! sir, it were pity you should get your living by reckoning, sir. — How much 
 is it ? — Lord ! — Love's L. L., v. 2. 
 
 What is not holy, that we swear not by. 
 But take the Highest to witness : then, pray you, tell me 
 If I should swear by Jove's great attributes.— /I /Z's W., iv. 2. 
 But it is Jove's doing, and Jove make me thankful ! . . . 
 Well, Jove, not I, is the doer of this, and he is to be thanked. . . Pray God, he be 
 not bewitched ! — Tw. N., iii. 4. 
 
 Jove bless thee, mastet parson. — Ibid., iv. 2. 
 
 God save thy grace. King Hal ! . . . God save thee, my sweet boy ! . . . My king ; 
 my Jove ! I speak to thee. — 2 H. IV.. v. 5. 
 
 He wills you, in the name of God Almighty, 
 
 That you divest yourself. . . . 
 
 Therefore in fierce tempest is he coming. 
 
 In thunder and in earthquake, like a Jove ; . . . 
 
 And bids you, in the bowels of the Lord, 
 
 Deliver up the crown. — H. V., ii. 4. 
 
458 THE SHAKESPEARE KEY. 
 
 God's will ! I pray thee, wish not one man more. 
 
 By yove, I am not covetous for gold. . . . 
 
 God's peace ! I would not lose so great an honour. — H. V., iv. 3. 
 If I do not leave you all as dead as a door-nail, I pray God I may never eat grass 
 more. ... I beseech jfovc on my knees, thou mayest be turned to hobnails. — 
 2 H. VI., iv. 10. 
 
 Great ^ove, Othello guard, and swell his sail with. . . . 
 
 Hail to thee, lady ! and the grace of Heaven, 
 
 Before, behind thee, and on every hand, 
 
 Enwheel thee round! — 0th., ii. i. 
 By Heaven, he echoes me. . . . By Heaven, I '11 know thy thoughts. . . . And, O 
 you mortal engines, whose rude throats th' immortal Jove's dread clamours counter- 
 feit. . . . Or, by the worth of mine immortal soul, thou hadst been better have been 
 born a dog. — Ibid., iii. 3. 
 
 O Jove, I think 
 
 Foundations* fly the wretched ; such, I mean. 
 
 Where they should be reliev'd. — Cym., iii. 6. 
 
 Shakespeare uses various interjections, with various force of effect, to 
 express different feelings : — 
 
 Ah [earnestly], how much might the man deserve of me that would right her ! — 
 M. Ado, iv. I. 
 
 Ah [persuasively], Gaunt, his blood was thine ! — R. II., i. 2. 
 
 Ah [cajolingly], you sweet little rogue, you ! . . . Ah, rogue ! i' faith, I love thee 
 . . . ah, villain ! — 2 H. IV., ii. 4. 
 
 Ah, ah ! [sighing] why sigh you so profoundly ? — Tr. & Cr., iv. 2. 
 
 Ah [lamentingly], sir! ah, sir 1 Well, death 's the end of all. — R. &• Jul., iii. 3. 
 
 Ah, ha I [exultingly] does she so ? — Tw. N., iii. 4. 
 
 Cries, ah, ha ! [one of the forms of diabolical address and diabolical ejaculation, in 
 the old stage mysteries] to the devil. — Ibid., iv. 2 (Song). 
 
 Alack [compunctiously], what trouble was I then to you ! — Temp., i. 2. 
 Alack [mournfully], and what shall good old York there see, 
 But empty lodgings and unfurnish'd walls. — R. II., i. 2. 
 
 Alack [earnestly], there lies more peril in' thine eye. — R. &• Jul., ii. 2. 
 
 No, no ; alack [deprecatingly], there 's other work in hand. — Cym., v. 5. 
 
 He is a proper man's picture; hut, alas [playfully deploring], who can converse 
 with a dumb show ? — Mer. of V., i. 2. 
 
 Yonder they lie ; the poor old man, their father, making such pitiful dole over 
 them, that all the beholders take his part with weeping. — Alas ! [sympathisingly]. — 
 As You L., i. 2. 
 
 Alas [regretfully], I have shown too much the rashness of a woman ! — W. T., iii. 2. 
 
 Alas [pityingly], poor Richard ! where rode he the while ? — R. II., v. 2. 
 
 Alas [in sorrow and alarm], he 's mad ! — Hamlet, iii. 4. 
 
 Alas [submissively], what ignorant sin have I committed ? — 0th., iv. 2. 
 
 Go to; away! [in dismissal] .^Tcm/., v. i. 
 
 Away, you rogue, away ! [gruffly] I am sleepy. — M.for M., iv. 3. 
 
 Away, away ! [in haste] no time shall be omitted. — Love's L. L., iv. 3. 
 
 Away [loathingly], you Ethiop ! — Mid. N. D., iii. 2. 
 
 Away, away [scornfully], mad ass ! his name is Lucentio.— Tarn, of S., v. i. 
 
 Away, you whoreson upright rabbit, away ! [testily]. — 2 H. IV., ii. 2. 
 
 Pray, get you out. — Away I [haughtily]. — Coriol., iv. 5. 
 
 * " Foundations " is here used, in a general sense, for edifices or dwelling-places ; 
 also, in a particular sense, with reference to establishments (usually religious ones) 
 where a revenue was settled for charitable purposes, and where alms and relief 
 were given. 
 
OATHS, EXCLAMATIONS, &€. 459 
 
 Hath denied my access to thee. — Away/ [repulsingly]. — Coriol., v. 2. 
 
 In sooth you are to blame. — Away ! [wrathfully]. — 0th., iii. 4. 
 
 O Desdemona ! Away ! away I away I [in agony of weeping]. — Ibid., iv. 2. 
 
 Instance, briefly; come [patronisingly], instance. ... A better instance, I say; 
 come. ... A more sounder instance ; come. — As You L., iii. 2. 
 
 Come [authoritatively], I charge you both go with me. . . . 
 
 . . . Come, come, you she knight-errant, come. — i H. IV., v. 4. 
 
 Come, you rogue, come [defiantly], bring me to justice. — 
 
 Ay, come, you starved bloodhound ! . . . Come, you thin thing ! come, you rascal ! — 
 Ibid., V. 4. 
 
 Come [soothingly], enough. — Coriol., iii. i. 
 
 heavenly powers. — Come [commandingly], hold your peace. — 0th., v. 2. 
 Come [dictatorially], I'll to my chamber. — Cym., i. 3. 
 
 Come [with arrogant condescension], I '11 go see this Italian. — Ibid., ii. i. 
 Come* [insolently], there's no more tribute to be paid. — Ibid., iii. i. 
 Come on, come on [scoffingly : more as we now use " come, come "], you are pictures 
 out of doors, bells in your parlours. — 0th., ii. i. 
 Come on [encouragingly], assay. — Ibid., ii. i. 
 Come on [dictatorially], tune: if you can penetrate. — Cym., ii. 3. 
 Come, come [impatiently] ; sans compliment, what news abroad ? — John, v. 6. 
 Come, come [encouragingly], what need you blush ? — Tr. &• Cr., iii. 2. 
 Come, come [hurryingly], they are almost here. — Coriol., ii. 2. 
 Come, come [remonstratively], you have been too rough. — Ibid., iii. 2. 
 Cry, Fie [blamingly] upon my grave ! — W. T., iii. 2. 
 Fie [chidingly], daughter ! when my old wife liv'd. — Ibid., iv. 3. 
 Fie J [perspiringly] this is hot weather. — 2 H. IV., iii. 2. 
 Fie [denyingly], there is no such man ; it is impossible. — 0th., iv. 2. 
 Fie, fie ! [self-reprovingly] no thought of him. — W. T., ii. 3. 
 
 I must be round with him, now he comes from hunting : 
 
 Fie, fie, fie, fie ! [reprobatingly]. — Timon, ii. 2. 
 Fie, fie, fie ! [partly deploringly, partly reprovingly].^Cono/., iv. 2. 
 See you here, sir? — O fie, fie, fie ! [reproachfully]. — Ant. &> C, iii. g. 
 
 1 was last chidden for being too slow. — Go to [rebukingly] , sir. — Two G. of V., ii. i. 
 But for you — ^well.^o to [implying an unspoken compliment]. — Merry W., i. 4. 
 Have I encompassed you ? go to [exultingly] ; via ! — Ibid., ii. 2. 
 
 Go to [repressively] , sir; you weigh equally. — M.for M., iv. 2. 
 
 And one that knows the law, go to [boastfully] ; and a rich fellow enough, go to. — 
 M. Ado, iv. 2. 
 
 And I to sigh for her ! to watch for her ! 
 
 To pray for her. Go to [vexedly conceding] ; it is a plague 
 
 That Cupid will impose for my neglect of his. — Love's L. L., iii. i. 
 
 Well, then, it now appears you need my help : 
 
 Go to [affirmatively], then ; you come to me. — Mer. of V., i. 3. 
 
 I shall have good fortune ! Goto [self-congratulatorily] , here 's a simple line of life ! 
 —Ibid., ii. 2. 
 
 You must begin, " Will you, Orlando,' — Go to [playfully consenting] : 
 
 Will you, Orlando, have to wife this Rosalind ? — As You L., iv. i. 
 
 Fear not, Baptista; we will content you, go to [reassuringly]. — Tam. of S., v. i. 
 
 This is hard and undeserved measure, my lord. — Go to [contemptuously], sir ; you 
 were beaten in Italy for picking a. — All's W., ii. 3. 
 
 * It is worthy of remark that the dramatist has made this word " come," a 
 characteristically repeated expression in the mouth of the vulgar blusterer, Cloten. 
 
46o THE SHAKESPEARE KEY. 
 
 Though you are a fool and a knave, you shall eat; go to [relentingly], follow. — 
 All's W., V. 2. 
 
 Is this your promise ? go to [chidingly], hold your tongfue. — yohn, iv. i. 
 
 Nay, rather let me have it, as you are a false thief. — Go to [vfaggishly] ; homo is a 
 common name to all men. — i H. IV., ii, i. 
 
 Go to [in bantering assent] ; I stand the push of your one thing that you will tell. 
 —2 H. IV., ii. 2. 
 
 There are other men fitter to go out than I. — Go to [contradictingly] ; peace. 
 Mouldy ! you shall go. — Ibid., iii. 2. 
 
 Go to [consentingly] ; stand aside . . . you shall have forty, sir. — Go to, stand 
 aside. — Ibid., iii. 2. 
 
 I would you would. Master Shallow. — Go to [conclusively] ; I have spoke at a word. 
 Fare you well. — Ibid., iii. 2. 
 
 Ye are too bold : go to [frowningly] ; I '11 make ye know. — H. VIII., ii. 2. 
 
 An her hair were not somewhat darker than Helen's (well, g-o to [petulantly]), there 
 were no more comparison. — Tr. <&■ Ci ., i. i. 
 
 Go to [agreeingly], a bargain made ; seal it, seal it. — Ibid., iii. 2. 
 
 No, truly, sir; not a penny. — Go to [insistingly], I say, you shall.— iJ-S" y;(/.,ii.4. 
 
 Go to [sarcastically] : perchance some single vantages you took. — Timon, ii. 2. 
 Abler than yourself to make conditions. — • 
 Go to [scornfully] ; you are not, Cassius. — Jul. C, iv. 3. 
 
 I '11 be with thee betimes. — Go to [approvingly] ; farewell. . . . I 'U sell all my land. 
 — Go to ; farewell: put money enough in your purse. — Otk., i. 3. 
 
 And so she did. — Why, go to [insidiously], then. — Ibid., iii. 3. 
 
 Is 't come to this ? Well, well. — Go to [angrily], woman ! 
 Throw your vile guesses in the devil's teeth. — Ibid., iii. 4. 
 
 Go to [in bitterly ironical encouragement] ; well said, well said. — Ibid., iv. i. 
 
 Pr'ythee, come; will you ? — Go to [consentingly], say no more. — Ibid., iv. i. 
 
 You are a fool ; go to [silencingly]. — Ibid., iv. 2. 
 
 Well ; go to [sneeringly] ; very well. — Very well ! go to ! 
 I cannot go to, man ; nor 'tis not very well. — Ibid., iv. 2. 
 
 With Cassio, mistress. Go to [imperatively], charm your tongue. — Ibid., v. 2. 
 
 Therefore speak no more. — Go to [scoffingly obedient], then; your considerate 
 stone. — Ant. &• C, ii. 2. 
 
 Good madam, hear me. — Well, go to [with suppressed irritation], I will ; but 
 there 's no goodness in thy face. — Ibid., ii. 5. 
 
 She died by foul play. — 0,go to [with sorrowful and reluctant acquiescence]. Well, 
 well. 
 
 Of all the faults beneath the Heavens, the gods 
 Do like this worst. — Per., iv. 4. 
 
 Go to, go to [displeasedly] : no matter for the dish, sir. — M.for M., ii. i. 
 
 Go to, go to [soothingly] ; peace, peace ! we must deal gently with him. — 
 Tw. N., iii. 4. 
 
 Go to, go to [in riddance], thou art a foolish fellow ; 
 Let me be clear of thee. — Ibid., iv. i. 
 
 I serve thee not. — Well, go to, go to [fretfully]. — Tr. &• Cr., ii. i. 
 
 Go to, sweet queen, go to [pacifyingly].— /Wrf., iii. i. 
 
 The falcon as the tercel, for all the ducks i' the river : go to, go to [rallyingly and 
 vauntingly]. — Ibid., iii. 2. 
 
 Go to, go to [censuringly] ; you have known what you should not. — Macb., v. 1. 
 
 Ay, fashion you may call it ; go to, go to [disdainfully]. — Hamlet, i. 3. 
 
 Where is the fellow ? Half afeard to come. — Go to, go to [waving aside the excuse]. 
 Come hither, sir. — Ant. &■ C, iii. 3. 
 
 Ha [blusteringly], thou mountain foreigner! — Merry W., i. i. 
 
 Ha [inquiringly], what say'st thou, Silvius? — As You L., iii. 3. 
 
OATHS, EXCLAMATIONS, &-c. 461 
 
 Ha [chucklingly], it was a merry night. — 2 H. IV., iii. 2. 
 
 Ha [patronisingly], cousin Silence, that thou hadst seen that that this knight and I 
 have seen ! — Ibid., iii. 2. 
 
 Ha fvauntingly], Sir John, said I well? — Ibid., iii. 3. 
 
 Ha > [carelessly] no, no, i' faith ; thou singest well enough. — M. Ado, ii. 3. 
 " Some are born great," — Ha.' [perplexedly]. — Tw. N., iii. 4. 
 Richard ! — Ha ? [reply as if to a call] — I call thee not. — R. III., i. i. 
 Who is there, ha? [angrily] . . . Who am l,ha?... Is this an hour for temporal 
 affairs, ha ?—H. VIII., ii. 2. 
 
 Good-morrow, Ajax. — Ha ? [with a cutting stare] Good-morrow. — Ay, and good 
 next day too. — [Exit.l — Tr. &• Cr., iii. 3. 
 Who does me this, ha? [in bitter self-questioning]. — Hamlet, ii. 2. 
 It is a common thing. — Ha ? [sharply]. — 0th., iii. 3. 
 
 Ha ! [threateningly] 0' my life, if I were young again, the sword should end it. — 
 Merry W., i. i. 
 
 The prince's fool ! Ha ! [vexedly] it may be I go under that title, because I am 
 merry. — M. Ado, ii. i. 
 
 Ha I [ponderingly] " Against my will I am sent to bid you come in to dinner " — 
 there 's a double meaning in that. — Ibid., ii. 3. 
 
 Kill Claudio. — Ha ! [refusingly] not for the wide world. — Ibid., iv. i. 
 Do but hear me, sir. — Ha ! [vehemently] I '11 tell thee what ; 
 Thou art damn'd as black.^yoAn, iv. 3. 
 And dout them with superfluous courage, ha ! [excitedly]. — H. V., iv. 2. 
 Ha ! [irefuUy] durst the traitor breathe out so proud words ? — 3 H. VI., iv. i. 
 To win her, all the world to nothing ! 
 Ha ! [vauntingly]. — R. III., i. 2. 
 
 The king cried, ha ! [sternly] at this. — Now God incense him, 
 And let him cry, ha ! louder ! — H. VIII., iii. 2. 
 Ha! [impetuously] Canterbury? — Ay, my good lord. — Ibid., v. i. 
 Avoid the gallery. Ha ! [imperiously] I have said. Be gone ! What ! — Ibid., v. i. 
 Ha ! [in angry surprise] 'Tis he indeed. — Ibid., v. 1. 
 Pass no farther. — Ha I [indignantly] what is that ? — Coriol., iii. i. 
 Ha ! [in grieved surprise] banishment ? be merciful, say death. — R. &• jful,, iii. 3. 
 What hands are here ! Ha ! [shudderingly] they pluck out mine eyes ! — Macb., ii. 2. 
 Cordelia, Cordelia ! stay a little. Ha ! [passionately eager listening] 
 What is 't thou say'st ? Her voice was ever soft. — Lear, v. 3. 
 Ha ! [pretendedly awakened suspicion] I like not that. — 0th., iii. 3. 
 You cannot, if my heart were in your hand ; 
 Nor shall not, whilst 'tis in my custody. — 
 Ha ! [furiously]. — Ibid., iii. 3. 
 Then, would to heaven that I had never seen it ! 
 Ha ! [with ireful suspicion] wherefore ? — Ibid., iii. 4. 
 Help, master, help ! here 's a fish hangs in the net. . . . Ha .' [heavingly] . — Per.,ii.i. 
 Ha, ha! [wondering laughter]. What things are these, my lord Antonio? Will 
 money buy them ? — Temp., v. i. 
 
 You '11 ne'er be good, nor suffer others. — Ha, ha ! [bantering laughter] Alas, poor 
 wretch ! . . . You smile, and mock me, as if I meant naughtily. — Ha, ha! — 
 Tr. &■ Cr., iv. 2. 
 
 What day is this ? — Monday, my lord. — 
 
 Monday ! ha, ha ! [slight surprise] Well, Wednesday is too soon ; 
 O' Thursday let it be. — R. & Jul., iii. 4. 
 Ha, ha! [scoffing laughter] how vilely doth this cynic rhyme. — ynl. C, iv. 3. 
 Ha, ha ! [bitter laughter] are you honest ? — Hamlet, iii. i. 
 Ha ! ha ! [outburst of passion] false to me ? — 0th., iii. 3. 
 
462 THE SHAKESPEARE KEY. 
 
 Ha, ha I [expression of tedium] Give me to drink mandragora. — Ant. &• C, i. 5. 
 
 Ha, ha, ha I [senile laughter] most excellent, i' faith ! . . . Ha, ha, ha 1 you can do 
 it, sir; you can do it. — 2 H. IV., iii. 2. 
 
 She gives it out that you shall marry her : do you intend it ? — Ha, ha, ha! [mocking 
 laughter] . . . bear some charity to my wit ; do not think it so unwholesome. Ha, 
 ha, ha J ... so hales and pulls me : ha, ha ha ! [laughter of levity], — 0th., iv. i. 
 
 How now ! Interjections ? Why then, some of laughing, as, ha, ha, he! [careless 
 laughter], — M. Ado, iv, i. 
 
 Doth turn oh ! oh ! to ha! ha! lie! [happy laughter]. — Tr. &• Cr., iii. i {Song). 
 
 What harmony is this ? my good friends, harit 1 [calling attention to supernatural 
 music]. — Temp., iii. 3. 
 
 Harlt ! [the anxious listening for possible sounds by those engaged in a guiltv 
 deed ] Peace ! it was the owl that shriek'd. . . . Harli ! I laid their daggers ready ; he 
 could not miss them. . . . Harli ! Who lies in the second chamber ? . . . Hark ! more 
 knocking. — Macb., ii. 2. 
 
 Yet here's a spot. — Hark ! [listening to the murmured accents of a sleep-walker] 
 she speaks: I will set down what comes from her. — Ibid., v. i. 
 
 Hark I [listening to an imagined noise] who is it that knocks ? — It is the wind. — 
 0th., iv. 2. 
 
 O, help! — Hark! [listening to a wounded person's call] . . . Nobody come ? then 
 I shall bleed to death, — Hark !—Ibid., v. i. 
 
 My ingenious instrument ! 
 
 Hark [calling attention to a musical summons], Polydore, it sounds! . . . Hark! — 
 Cym., iv. 2. 
 
 Heigh [a cheering shout], my hearts ! cheerly, cheerly, — Temp., i. i. 
 
 My lord, my lord ! — Heigh ! heigh ! [a jeering shout] the devil rides upon a fiddle- 
 stick: what's the matter l—i H. IV., ii, 4, 
 
 By my troth, I am exceeding ill : heigh-ho ! [a languishing sigh], — M. Ado, iii, 4, 
 
 How well I counterfeited. Heigh-ho ! [a gasp, after recovering from a swoon] This 
 was not counterfeit. — As You L., iv. 3. 
 
 Heigh-ho ! [a yawn] An 't be not four by the day, I '11 be hanged : Charles' wain is 
 over the new chimney. — i H. IV., ii. i. 
 
 Heigh-ho! [an affected sigh] In love, i' faith, to the very tip of the nose. — 
 Tr. &■ Cr., iii, i. 
 
 Hem them away, — I would try, if I could cry hem [clearing the throat, in 
 suppression of uneasiness of spirit], and have him, — As You L., i, 3, 
 
 There 's a man, niece ! Hem ! [clearing the throat, to attract attention !] Brave 
 Troilus ! the prince of chivalry ! — Tr. <&■ Cr., i, 2. 
 
 Cough, or cry hem [clearing the throat, as a token of warning], if any body come. 
 — 0th., iv, 2. 
 
 Freedom, hey-day! [in hilarity] hey-day, freedom! freedom! hey-day, freedom I 
 — Temp., ii, 2. 
 
 Hey-day ! [in impatient disdain], a riddle ! neither good nor bad ! — R. III., iv, 4, 
 
 Hey-day ! [in astonishment] spirits and fires ! — Tr. &• Cr., v. i. 
 
 Hey-day ! [in contemptuous surprise] what a sweep of vanity comes this way I 
 They dance ! — Timon, i. 2. 
 
 H'm* [in moody reverie], — ha! is this a vision? is this a dream? do I sleep? 
 Master Ford, awake! — Merry W., iii. 5. 
 
 I cried, "H'm" [in suppressed impatience], and "Well, go to," but mark'd him 
 not. — I H. IV., iii, i. 
 
 Jove bless great Ajax. — H'm ! [in mimicry of a self-absorbed bullv] — I come from the 
 worthy Achilles, — Ha ! — Who most humbly desires you to invite Hector to his tent, 
 — H'm .' — And to procure safe conduct from Agamemnon. — Tr. (&> Cr., iii, 3, 
 
 * In the Folio this exclamation is sometimes spelt ' Hum ' and sometimes ' Humh. 
 
OATHS, EXCLAMATIONS, &c. 463 
 
 Must he needs trouble me in 't, h'm ! [grumblingly] 'bove all others ? . . . And does 
 he send to me? Three? H'm! — Timon, in. 3. 
 
 The heaviest sound that ever yet they heard. — H'm! [in suppressed emotion] I guess 
 at it.— Macb., iv. 3. 
 
 H'm ! [reflectively] this 'fellow might be in 's time. — Hamlet, v. i. 
 
 H'm ! [in grieved amazement] Conspiracy ! — Lear, i. 2. 
 
 H'm ! [shiveringly] go to thy cold bed, and warm thee. — Ibid., iii. 4. 
 
 If you say so, I hope you will not kill me. — H'm ! [unwilling to reply] — And yet I 
 fear you. — 0th., v. 2. 
 
 Not her danger. — H'm! [reading over the letter to himself] . . . sirrah, is this 
 letter true ? — Cym., iii. 5. 
 
 Hail, sir ! my lord, lend eax.—H'm ! [absently] ha ? — Per., v. i. 
 
 I pray you, leave me. — Ho ! [bantering expostulation] now you strike like the blind 
 man. — M. Ado, ii. i. 
 
 What noise there, ho? [angry inquiry]. — W. T., ii. 3. 
 
 Who 's there ? speak, ho ! [military challenge of inquiry] speak quickly, or I shoot. 
 — yohn, V. 6. 
 
 All fast ? What means this ? Ho ! [authoritative summons] Who waits there ? 
 Sure, you know me. — H. VIII., v. 2. 
 
 Ho ! [impatient call] bid my trumpet sound ! — Tr. &' Cr., v. 3. 
 
 What, are you busy, ho ? [kindly inquiry] . — R. &• Jul., i. 3. 
 
 Stand, lio ! [sentinels' challenge] Who is there ? — Hamlet, i. 1. 
 
 The guard, ho! [wounded summons] — O, despatch me! — Ant. &• C, iv. 12. 
 Ho ! [attemptedly loud summons] Who 's there ? 
 If anything that 's civil, speak ; if savage. 
 Take, or lend. Ho ! No answer ? Then I '11 enter. — Cym., iii. 6. 
 
 Sweet lady, ho, ho [fantastical smiling]. — Tw. N., iii. 4. 
 
 Ho, lio [cynical laughter], confess'd it! hang'd it, have you not? . . . Ho, ho! I 
 laugh to think that babe a bastard. — Timon, i. 2. 
 
 Ho, ho, ho ! [the written form of the mocking laugh ascribed to Puck in the old 
 ballads describing his pranks] Coward, why com'st thou not ? — Mid. N. D., iii. 2. 
 
 Ho, ho, ho ! [forced laugh] Now, the witch take me, if I meant it thus ! Grace 
 grow where those drops fall I — Ant. &• C, iv. 2. 
 
 What ho ! [calling to one within a cave] slave I Caliban ! — Temp., i. 2. 
 
 What ho ! [neighbourly call] gossip Ford ! what ho ! — Merry W., iv. 2. 
 
 Wliat ho ! [call for admission at a prison-entrance] Peace here ; grace and good 
 company I — M.for M., iii. i. 
 
 What ho ! what ho ! what ho ! [sailorly call]. — 0t}i., i. 3. 
 
 Whoa, }io, hoa ! — Hilloa ! loa ! [rustic shouting] — What ! art so near ? — W. T., iii. 2. 
 
 Whoo ! ho ! ho ! [blubbering] father Page ! — Merry W., v. 5. 
 
 Hoo ! [ joj'ful shout] Marcius coming home. — CorioL, ii. i. 
 
 Our enemy is banish'd ! he is gone ! Hoo ! hoo ! [plebeian shout]. — Ibid., iii. 3. 
 
 Hoo ! [roistering shout] Says 'a ! There 's my cap ! — Hoo ! Noble captain, 
 come. — Ant. &• C, ii. 7. 
 
 Spake you of Caesar ? Hoo ! [laudatory shout] the nonpareil ! . . . yet he loves 
 Antony : Hoo ! hearts, tongues, figures, scribes, bards, poets, cannot think, speak, cast, 
 write, sing, number — hoo ! — his love to Antony. — Ibid., iii. 2. 
 
 There, hold [giving back a letter] : I will not look upon. — Two G. of V., iv. 4. 
 
 Hold [tendering his commission] , therefore, Angelo. — M.for M., i. i. 
 
 Hold! [interposing] hurt him not, for God's sake! — Com. of E., v. i. 
 
 Hold [giving money], there 's expenses for thee. — Tw. N., iii. i. 
 
 Hold [parting combatants], Toby! on thy life, I charge thee, hold! — Ibid., iv. i. 
 
 Hold [giving a weapon]. Wart, traverse. — 2 H. IV., iii. 2. 
 
 Hold [giving keys], take these keys, and fetch more spices. — R. &• Jul., iv. 4. 
 
464 THE SHAKESPEARE KEY 
 
 Hold [giving his hand], my hand : be factious for redress. — yul. C, i. 3. 
 Hold [bidding his heart not break], my heart ! — Hamlet, i. 5. 
 Holla [calling to a servant], within ! sirrah, lead these. — Tarn, of S., ii. i. 
 Holla! [calling, in the dark] Bernardo ! — Hamlet, i. i. 
 Holla ! [a command, in the dark] stand there ! — 0th., i. 2. 
 
 Holla, holla ! [scornful denial] That eye that told you so look'd but a-squint. — 
 Lear, v. 3. 
 
 How ! [surprised inquiry] the best ? What wert thou. — Temp., i. 2. 
 
 How ! [angry inquiry] away with that audacious lady. — W. T., ii. 3. 
 
 How ! [astonishment] not your own desire ! — Coriol., ii. 3. 
 
 It is not lost ; but what an if it were ? How ! [wrath]. — 0th., iii. 3. 
 
 Why, how now ! [cheerful inquiry] do you speak in the sick tune ? — M. Ado, iii. 4. 
 
 Why, how now [poutingly] , Orlando ! where have you been all this while ? You a 
 lover! — As You L., iv. i. 
 
 My lady would not lose him for more than I '11 say. — How now [rebukinglvl 
 mistress ! — Tw. N., iii. 4. 
 
 Why, how now [roaring inquiry], my bawcock, how dost thou, chuck? — Ibid., iii. 4. 
 
 How now [arousingly], fair shepherd ! your heart is full of something that does take 
 your mind from feasting. — W. T., iv. 3. 
 
 Why, how now [remonstratingly], general! no more of that. . . . How now, my 
 lord I— 0th., iii. 3. 
 
 How now [half surprised, half humouring her], my sweet Bianca ! how now, how 
 now l^lbid., iv. i. 
 
 And I thank you always with my heart, la [in senile affirmation] ; with my heart.— 
 Merry W., i. i. 
 
 Ay, or else I would I might be hanged, la [in flabby affirmation]. — Ibid., i. i. 
 
 Truly, I will not go first ; truly, la [foolishly insisting] ; I will not do you that 
 wrong. . . . You do yourself wrong, indeed, la. — Ibid., i. i. 
 
 This is all, indeed, la [lying affirmation]. — Ibid., i. 4. 
 
 Surely, I think you have charms, la [waggish affirmation] ; yes, in truth. — 
 Ibid., ii. 2. 
 
 I 'U make the best in Gloucestershire know on 't ; would I were hanged, la [flabbily 
 threatening], else. — Ibid., v. 5. 
 
 As ever his plack shoe trod upon Got's ground and his earth, in my conscience, la 
 [pepperily affirmative]. — H. V., iv. 7. 
 
 Nay, that shall not serve your turn ; that shall it not, in truth, la [pettishly affirma- 
 tive]. — Tr. &■ Cr., iii. i. 
 
 In faith, I will, la [coquettishly affirmative] ; never trust me else. — Ibid., v. 2. 
 
 Indeed, la [earnestly affirmative], 'tis a noble child. — Coriol., i. 3. 
 
 In truth, la [persuasively insisting], go with me. — Ibid., i. 3. 
 
 Indeed, la [artlessly affirmative], without an oath, I'll make an end on't. — 
 Hamlet, iv. 5. 
 
 Sooth, la [blandishingly affirmative], I 'II help. — Ant. <&> C, iv. 4. 
 
 Believe me, la [innocently affirmative], I never kill'd a mouse, nor hurt a fly. — 
 Per., iv. I. 
 
 Hath sent to your lordship to furnish him, nothing doubting your present assistance 
 therein. — La, la, la, la, [hypocritical sympathy], nothing doubting, says he? alas, 
 good lord! — Timon, iii. i. 
 
 La you ! [pretended amazement] an you speak ill of the devil, how he takes it at 
 heart ! — Tw. N., iii. 4. 
 
 Lo [calling attention to a particular point in narration], what befel ! he threw his 
 eye aside, and, mark, what object. — As You L., iv. 3. 
 
 Lo [calling attention to pretended circumstance], how hollow the fiend speaks within 
 him ! — Tw. N., iii. 4. 
 
OATHS, EXCLAMATIONS, &-c. 465 
 
 The love I bore your queen, — lo [self-rebukingly], fool again ! I '11 speak of her no 
 more. — IV. 7"., iii. 3. 
 
 Lo ! [despondently] this is all : nay, yet depart not so. — R. II., i. 2. 
 
 Lo, lo, lo, lo [jeeringly admiring], what modicums of wit he utters ! — Tr. &• Cr.. ii. i. 
 
 Lo tliee! [as a signal to strike the desired blow]. — Ani. &• C, iv. 12. 
 
 Why, loyou now [in playful surprise], I have spoke to the purpose twice. — IT. T.. i. 2. 
 
 Lo yon now ! [helplessly] you hear: when she will take. — Ibid., ii. 3. 
 
 Lord [in girlish amazement], how it looks about ! — Temp., i. 2. 
 
 Lord! [sportively] I could not endure a husband with. — M. Ado, ii. i. 
 
 Lord [jeeringly], how wise you are ! — Lovers L. L., i. 2. 
 
 Lord [scornfiilly] , what fools these mortals be ! — Mid. N. D., iii. 2. 
 
 Lord [rustic wonder], how art thou changed ! — Mer. of V., ii. 2. 
 
 Lord ! [female scorn at womanly submission] let me never have a cause to sigh 
 till I be brought to such a silly pass ! — Tarn of S., v. 2. 
 
 Lord [vexation], how we lose our pains ! — All 's W., v. i. 
 
 Lord [placid content], who would live turmoiled in the court. — 2 H. VI., iv. 10. 
 
 Lord [complaining], how my head aches ! — R. &• Jul., ii. 5. 
 
 Lord ! [a sudden snatch of solemnity] we know what we are, but we know not 
 what we may be. — Hamlet, iv. 5. 
 
 Lord, lord .' [pertly] to see what folly reigns in us. — Two G. of V., i. 2. 
 
 Lord, lord ! [waggishly] your worship 's a wanton ! — Merry W., ii. 2. 
 
 Lord, lord! [conceitedly] how the ladies and I have put him down I — Love's L. L.. iv. i. 
 
 Lord, lord [impudent denunciation of falsehood by a liar] , how this world is given to 
 lying. — I H. IV., v. 4. 
 
 Lord, lord [pretended deploring of falsehood], how subject we old men are to this 
 vice of lying ! — 2 H. IV., iii. 2. 
 
 Lord, lord ! [garrulous gladness] she will be a joyful woman. . . . 
 
 Lord, lord! [garrulous praise] when 'twas a little prating thing. — R. &• jul.. ii. 4. 
 
 O Lord [mockingly], he will hang upon him like. — M. Ado, i. i. 
 
 No, no; O lord! [pert contradiction] sir, no. — Love's L. L., i. 2. 
 
 O Lord [abject pleading], sir, let me live, or let me see. — All's W., iv. 3. 
 
 How, now, mistress ! — O Lord! [pretendedly startled]. — Tw. N., iii. 4. 
 
 Lord ! [in mental anguish] my boy, my Arthur. — John, iii. 2. 
 
 Lord ! [blaringly] good my lord captain,— what, dost thou roar before thou art 
 pricked ? — Lord, sir, I am a. — 2 H. IV., iii. 2. 
 
 Not to-day, Lord ! [in earnest supplication] O, not to-day, think not upon the 
 fault my father made. — H. V., iv. i. 
 
 Lord ! [in troubled narration of a dream] methought what pain it was to drown ! 
 what dreadful noise. — R. III., i. 4. 
 
 O Lord! [in pained surprise] why look'st thou sad? — R. &■ Jul., ii. 5. 
 
 O Lord ! [sanctimoniously] I could have stayed here all the night, to hear good 
 counsel : O, what learning is. — Ibid., iii. 3. 
 
 O Lord [in alarm], they fight ! I will go call the watch. — Ibid., v. 3. 
 
 lord, lord! [playfully] it is a hard matter for. — As You L., iii. 2. 
 
 Do not torment me: O.' [growlingly] . . . The spirit torments me : .' — Temp., n. 2. 
 
 ! [ardently] she is ten times more gentle than her father 's crabbed . . . but you. 
 you ! so perfect. — Ibid., iii. i. 
 
 .' [supplicatorily] think on that ; and mercy then will. — M.for M., ii. 2. 
 
 ! [fervently] were it but my life, I 'd throw it down. — Ibid., iii. i. 
 
 [furiously], I will to him, and pluck out his eyes l^Ibid., iv. 3. 
 
 [narratively], when she had writ it. ... 0, she tore the letter into a thousand 
 half-pence.— Jli'. Ado, ii. 3. 
 
 O [sarcastically], that woman that cannot make her fault. — As You L., iv. i. 
 
 2 H 
 
465 THE SHAKESPEARE KEY. 
 
 But, [amorous reflection], how bitter a thing it is. — As You L., v. 2. 
 
 O [disdainfully], sir, I will not be so hard-hearted. — Tui. N., i. 5. 
 
 ! [in pretended pain] good sir, tenderly, ! — W. T., iv. 2. 
 
 It is my lady; [enamoured transport], it is my love ! 0, that she knew she were ! 
 ... 0, that I were a glove upon that hand.' ... 0, speak again, bright angel ! . . . 
 O Romeo, Romeo! ... O, be some other name ! . . . O gentle Romeo, if thou dost 
 love, pronounce it faithfully. ... 0, swear not by the moon, th' inconstant moon. . . . 
 O, wilt thou leave me so unsatisfied ? . . . blessed, blessed night ! ... 0, for a 
 falconer's voice, to lure this tassel-gentle back again ! — R. &■ Jul., ii. 2. 
 
 O .' [impassioned dread] by this count I shall be much in years ere I again behold 
 my Romeo. ... 0, think'st thou we shall ever meet again ? — Ibid., iii. 5. 
 
 Well, then — sustain me: ! [ready to sink]. — Ant. & C, iii. 9. 
 
 O [passionate remorse], bear me witness, night. . . Be witness to me, thou 
 blessed moon ! . . . O sovereign mistress of true melancholy ! . . . Antony ! nobler 
 than my revolt is infamous, forgive me. . . . O Antony ! Antony ! — Ibid., iv. g. 
 
 [Jocular consolation], of this contradiction you shall now be quit. 0, the charitv 
 of a penny cord ! — Cym., v. 4. 
 
 0, 0, 'tis foul! [passionate complaint] — Lear, iii. 2. 
 
 O .' ! ! [a man's agony of weeping] Nay, lay thee down and roar ; for thou 
 hast kill'd the sweetest innocent. . . . O Desdemona ! Desdemona ! dead ! ! .' .' 
 —0th., V. 2. 
 
 These lovers cry — Oh ! oh ! [mockery of weeping] they die ! . . . Doth turn oh .' 
 oh : to ha I ha ! he ! . . . Oh ! oh ! a while, but ha ! ha ! ha ! Oh ! oh ! groans out 
 for ha ! ha ! ha \~Tr. &■ Cr., iii. i {Song). 
 
 Oh, oh, oh.' [Falstaffian roar at being burnt by the fairies' tapers]. — Merry W., v. 5. 
 
 All the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh ! [profound 
 . sigh of remorse]. — Macb., v. i. 
 
 O, ho [vauntingly] , monster ! we know what belongs to a frippery. — Temp., iv. i. 
 
 0. ho ! [exultingly] do you come near me now? — Tw. N., iii. 4. 
 
 0, ho ! [a cry of wandering wits] — Nay, but Ophelia. — Hamlet, iv. 5. 
 
 0, ho [cunning of insanity], are you there with me ? — Lear, iv. 6. 
 
 0, ho! [detectingly] I know the riddle. — Ibid., v. i. 
 
 ho, ho ! [savage defiance] would it had been done ! — Temp., i. 2. 
 
 heaven ! [flabby ecstasy] this is Mistress Anne Page. — Merry W., i. i. 
 
 O heaven ! [paternal grief] How got she out ? — 0th., i. i. 
 
 heavens ! [agitation] why does my blood thus muster to my heart ? — M. 
 for .1/., ii. 4. 
 
 1 am asham'd ; heavens ! [affectation of modesty] what have I done ? — 
 Tr. &■ Cr., iii. 2. 
 
 O heavens ! [bitterly ironical] die two months ago, and not forgotten yet ? — 
 Hamlet, iii. 2. 
 
 heavens ! [hypocritical regret] that this treason were not. — Lear, iii. 5. 
 
 heavens ! O heavens ! [a burst of wifely weeping]. — Coriol., iv. i. 
 
 Soft [bespeaking attention], sir : one word more. — Temp., i. 2. 
 
 Soft ! [enjoining silence] comes he not here ? — As Yon L., iii. 2. 
 
 Soft ! [self-imposed attention] and the impressure her Lucrece. . . . Soft ! here 
 follows prose. — Tw. N., ii. 5. 
 
 Not too fast: soft, soft [self-checking]. — Ibid., i. 5. 
 
 Come, here 's my heart : something 's afore 't : Soft, soft ! [bidding wait a moment] 
 we '11 no defence. — Cym., iii. 4. 
 
 Shakespeare employs some exclamations that are formed from ex- 
 pressive sound : — 
 
 Oh. well flown, bird ! — i' the clout, i' the clout : hewgh ! [the old king's whistle in 
 imitation of the falconer's call to the hawk, and of the twang of the arrow through 
 the air]. — Lear, iv. 6. 
 
OATHS, EXCLAMATIONS, &-c. 467 
 
 Pur ! [Edgar, in his assumption of Poor Tom's rambling jargon, mimics the noise 
 made by the animal he names] the cat is grey. — Lear, iii. 6. 
 
 We did keep time, sir, in our catches. Sneck up t [a scoffing interjection, equivalent 
 to ' go, hang ! ' — put into .the boozing Sir Toby's mouth, as having the effect of a 
 hiccup]. — Tu). N., ii. 3. 
 
 Whew '. [Falstaff s vexed mockery of the thieves' whistle] A plague upon you all ' 
 Give me my horse. — i H. IV., ii. 2. 
 
 Shakespeare makes use of several exclamations, technically or other- 
 wise specially employed : — 
 
 That woman, who cried out " Clubs! " [the cry used in ancient London to summon 
 constabulary aid, or to rally the city apprentices] when I might see from far. — 
 H. VIII., V. 3. 
 
 Clubs, bills, and partisans ! strike.^i?. &■ Jul., i. i. 
 
 Oh, esperance ! [the motto and battle-cry of the Percy family]. — i H. IV., ii. 3. 
 
 Now, Esperance ! Percy ! and set on. — Ibid., v. 2. 
 
 A hall, a hall ! [the exclamation formerly used when it was needful to clear a space 
 in a crowded assembly] give room ! — R. &• Jul., i. 5. 
 
 Halloo, halloo, loo, loo ! [a cry used in hare-hunting]. — Lear, iii. 4. 
 
 Cry, havock [the word used in war as a declaration that no quarter should be given], 
 kings ! back to the stained field. — John, ii. 2. 
 
 Do not cry havock, where you should but hunt. — CorioL, iii. i. 
 
 Cry, " havock ! " and let slip the dogs of war. — Jul. C, iii. i. 
 
 This quarry cries on havock. — Hamlet, v. 2. 
 
 Hey [cry of the chase, to encourage the hounds]. Mountain, hey ! — 
 
 Silver! there it goes! Silver! — Fury, Fury! there Tyrant, there! hark, hark! — 
 Temp., iv. i. 
 
 Illo, ho, ho! my lord ! — Hillo, ho, ho, boy ! [the call used by falconers to the hawk, 
 when they would have it descend from the air to them] come, bird, come. — Hamlet, i. 5. 
 
 To cry, ''Hold, hold!" [the phrase formally and solemnly used when parting 
 combatants or forbidding an assault]. — Macb., i. 5. 
 
 Hold, for your lives ! — Hold, hold, lieutenant i. '. , . Hold ! the general speaks to 
 you, hold, for shame ! — 0th., ii. 3. 
 
 Hold, hold, hold, hold! — ^My noble masters. — CorioL, v. 5. 
 
 Cry, holla ! [a term of the riding-school ; whereby the horse was checked or 
 stopped] to thy tongue, I pry' thee; it curvets most unseasonably. — As You L., iii. 2. 
 
 Kill, kill, kill, kill, kill [the word given formerly in the army, when an onset was 
 made upon the enemy] him ! — CorioL, v. 5. 
 
 And when I have stolen upon these sons-in-law, 
 Then, kill, kill, kill, kill, kill, kill. — Lear, iv. 6. 
 
 Now, bull ! now, dog ! 'Loo, Paris, 'loo ! [a cry used at bull-baiting] now, mv 
 double-henned sparrow ! 'loo, Paris, 'loo ! The bull has the game : 'ware horns, ho ! — 
 Tr. &• Cr., V. 8. 
 
 Peace ! — Hear the crier I [Faulconbridge likens Austria's exclamation of " Peace ! " 
 to the proclamation, " Silence ! " made by criers in courts of justice]. — John, ii. i. 
 It is his highness' pleasure that the queen 
 Appear in person here in court. Silence ! — W. T., iii. 2. 
 
 Saint Denis [the battle-cry of France] to Saint Cupid! [the battle-cry playfiilly 
 adopted by the French Princess]. — Love's L. L., v. 2. 
 
 Between Saint Denis and Saint George [the battle-cry of England].— H. V., v. 2. 
 
 So-ho, so-ho ! [the cry, in hunting the hare, when the game is perceivedJ^What 
 see'st thou ? — Two G.of V., iii. i. 
 
 So-ho ! — What hast thou found ? — No hare, sir. — R. & Jul., ii. 4. 
 
 And " tailor '' [an exclamation used when any one slipped from a seat and fell back- 
 wards : conjectured to have been because a person so stumbling falls as a tailor squats 
 upon his board] cries, and falls into a cough. — Mid. N. D., ii. i, 
 
 2 H 2 
 
468 THE SHAKESPEARE KEY. 
 
 Yoke you like draught oxen, and make you plough up the war. — What, what ? — 
 Yes, good sooth : to, Achilles ! to, Ajax! to ! [the expression of urging used by plough- 
 men to their cattle]. — Tr. & Cr., ii. i. 
 
 0, -well flown, bird! [the falconer's expression when the hawk was successful in its 
 flight], — Lear, iv. 6. 
 
 There lies your way, due west. — Then westward-ho ! [this, and its counterpart 
 exclamation, ' eastward-ho ! ' were the cries with which the Thames watermen offered 
 to convey passengers in their boats either towards the city or the contrary quarter of 
 London]. — Tw. N., iii. i. 
 
 Shakespeare uses some exclamations derived from foreign sources : — 
 
 Adieu, good Monsieur Melancholy. — As You L., iii. 2. 
 
 With no less religion than if thou wert indeed my Rosalind: so, adieu. — Ibid., iv. i. 
 
 Once more, adieu ; the rest let sorrow say. — R. II., v. i. 
 
 Adieu ! — Nay, stay a little : were you but riding forth to air yourself, such parting 
 were too petty. — Cym., i. 2. 
 
 Baccare ! you are marvellous forward. — Tarn of S., ii. i. 
 
 I will not change my horse with any that treads but on four pasterns, fa, ha l 
 He bounds from the earth, as if his entrails were hairs. — H. V., iii. 7. 
 
 Coragio ! bully-monster, coragio ! — Temp., v. i. 
 
 Bravely, coragio ! — AlVs W., ii. 5. 
 
 Diablo, ho! the town will rise. — 0th., ii. 3. 
 
 " Steal," foh ! a fico for the phrase! — Merry W., i. 3. 
 
 Die, and figo for thy friendship ! — H. V., iii. 6. 
 
 The figo for thee, then ! — Ibid., iv. i. 
 
 Gramercies, Tranio, well dost thou advise. . . . 
 Gramercies, lad ; go forward. — Tarn of S., i. i. 
 
 Gramercies, good fool: how does your mistress? — Timon, ii. 2. 
 
 Gramercy : wouldst thou aught with me ? — Mer. of V., ii. 2. 
 
 Gramercy, fellow. There, drink that for me. — R. III., iii. 2. 
 
 Good ! Gramercy. — Timon, ii. 2. . 
 
 Good master page, sit. Prof ace ! — 2 H. IV., v. 3. 
 
 Rivo ! says the drunkard. — i H. IV., ii. 4. 
 
 Let the world slide : sessa ! — Tarn, of S., Indue, i. 
 
 Sessa 1 let him trot by. — Lear, iii. 4. 
 
 Sessa ! Come, march to wakes and fairs. — Ibid., iii. 6. 
 
 Have I encompassed you ? go to, via ! — Merry W., ii. 2. 
 
 Via, goodman Dull ! thou hast spoken no word. — Love's L. L., v. i. 
 
 Cried, " Via .' we will do 't, come what will come." — Ibid., v. 2. 
 
 " Via .'" says the fiend ; " away ! " says the fiend. — Mer. of V., ii. 2. 
 
 Via ! les eaux et la terre. — H. V., iv. 2. 
 
 Why, Via ! to London will we march amain. — 3 H. VI., ii. i. 
 I see them lording it in London streets, 
 Crying " Villiago ! " unto all they meet. — 2 H. VI., iv. 8. 
 
 And he introduces one English oath corrupted by French pronuncia- 
 tion : — 
 By gar, it is a shallenge . . by gar, I vill cut. — Merry W., i. 4. 
 He also uses some peculiar adjurations : — 
 B-at, for all our loves, first let them try. — 2 H. IV., ii. 3. 
 Would desire you to send her your little page oiall loves. — Merry W., ii. 2. 
 Speak, of all loves ! — Mid. N. D., ii. 3. 
 Of charity, what kin are you to me ? — Tw. N.,v. 1. 
 Sweet saint,/o?' charity, he not so curst. — R. III., i. 2. 
 
OATHS, EXCLAMATIONS, &-c. 469 
 
 Also, some peculiar asseverations : — 
 
 And yet to win her, all the world to nothing ! — R. III., i. 2. 
 
 And all the world to nothing, that he dares ne'er come back.— i?. &• yul., iii. 5. 
 
 For, heaven to earth, some of us never shall a second time. — i H, IV., v. 2. 
 And of his friends there, it is lots to blanks, 
 My name hath touch'd your ears. — Coriol., v. 2. 
 
 Master, /or my hand, both our inventions meet. — Tarn, of S., i. i. 
 
 Not to tremble: my life for yours. — Mid. N. D., iii. i. 
 
 Also, some exclamations of salutation : — 
 
 Hail, mortal ! — Hail 1 Hail'. Hail! — Ibid., iii. i. 
 
 All hail, great master! grave sir! hail! — Temp., i. 2. 
 
 Casar, all liail ! good morrow, worthy Caesar. — Jul. C, ii. 2. 
 
 All hail, Macbeth! hail to thee, thane of Glamis! — Macb., i. 3, 
 
 Hail to your lordship ! — I am glad to see you well. — Hamlet, i. 2. 
 
 Hail to your grace ! — I am glad to see your highness. — Lear, ii. 4. 
 
 God-den to your worship, goot Captain Jamy. — H. V., iii. 2. 
 
 O, God ye good den. — May not one speak ? — R. &• Jul., iii. 5. 
 
 God ye good morrow, gentlemen. — God ye good den. — Ibid., ii. 4. 
 
 God give you good-morrow , master person. — Love's L. L., iv. 2. 
 
 Good den, brother. — M. Ado, iii. 2. 
 
 Good crcn, Varro. — Timon, ii. 2. 
 
 Good day and happiness, dear Rosalind!— ^s You L., iv. i. 
 
 Till he have cross'd the Severn. Happiness. — Cym., iii. 5. 
 
 Sir Proteus, save you ! Saw you my master ? — Two G. of V., i. i. 
 
 Save thee, friend, and thy music. — Tw. N., iii. i. 
 
 Save you, sir. — And you. — Coriol., iv. 4. 
 
 Save thee, Curan. — And you, sir. — Lear, ii. i. 
 
 He has some passionately emotional exclamations, of singularly 
 simple and concentrated force in expression : — 
 Is it even so ? then I defy you, stars ! — R. &• Jul., v. i. 
 Death of thy soul ! those linen cheeks of thine. — Macb., v. 3. 
 My breath and blood ! Fiery ? the fiery duke ? — Lear, ii. 4. 
 Death on my state ! wherefore should he sit here ? — Ibid., ii. 4. 
 
 Howl, howl, howl, howl ! O, you are men of stones : 
 
 Had I your tongues and eyes, I 'd use them so 
 
 That Heaven's vault should crack. She 's gone for ever ! 
 
 I know when one is dead, and when one lives ; 
 
 She 's dead as earth ! — Il>id., v. 3. 
 
 He has also given us a specimen of the meaningless exclamations 
 (such as, ' My mare, God save her! ' and ' My sovsf, God bless her ! ') 
 sometimes formerly used : — 
 
 If I spar'd any 
 That had a head to hit. . . . 
 Let me ne'er hope to see a chine again ; 
 And that I would not for a cow, God save her ! — H. VIII., v. 3. 
 
 Also, specimens of elliptical exclamations : — 
 
 Women ! Help Heaven ! [' Heaven help them ! '] men their creation mar 
 
 In profiting by them. — M.for M., ii. 4. 
 God help [them], poor souls, how idly do they talk ! — Com. of E., iv. 4. 
 Now, the Lord help [me] ! they vex me past my patience ! — H. VIII., ii. 4. 
 
47° THE SHAKESPEARE KEY. 
 
 He uses some interjections of denunciation : — 
 "Aroint thee, witch! " the rump-fed ronyon cries. — Macb., i. 3. 
 And, aroint thee, witch, aroint thee. — Lear, iii. 4 {Song). 
 Rogues, hence, avaunt 1 vanish like hailstones. — Merry W., i. 3. 
 Avaunt, thou witch ! Come, Dromio, let us go. — Com. of E.. iv. 3. 
 Avaunt, perplexity ! What shall we do if they return. — Love's L. L., v. 2. 
 Avaunt, thou hateful villain, get thee gone! — John, iv. 3. 
 You hunt-counter, hence ! avaunt l — 2 H. IV., i. 2. 
 You dogs ! avaunt, you cuUions ! — H. V., iii. 2. 
 Avaunt, thou dreadful minister of hell ! — R. III., i. 2. 
 Avaunt ! and quit my sight ! let the earth hide thee. — Macb., iii. 4. 
 Avaunt, you curs ! — Lear, iii. 6. 
 
 Avaunt! be gone ! thou hast set me on the rack. — 0th., iii. 3. 
 Hence, avaunt! — Ibid., v. i. 
 Ah, thou spell! Avaunt! — Ant. &• C, iv. 10. 
 Avaunt, thou damned door-keeper ! — Per., iv. 6. 
 
 Satan, avoid ! I charge thee, tempt me not ! . . . 
 
 Avoid thee, fiend I — Com. of E., iv. 3. 
 False fiend, avoid ! — 2 H. VI., i. 4. 
 
 Thou basest thing, avoid ! hence, from my sight I — Cym., i. 2. 
 Out, devil ! I remember them too well. — R. III., i. 3. 
 Out, rascal dogs ! — Timon, v. i. 
 Out on thee, rude man ! — John, i. i. 
 Out upon you I what a man are you. — R. &• Jul., ii. 4. 
 
 And some interjections of disgust : — 
 
 And fall a-cursing, like a very drab, a scullion I 
 
 Fie upon 't I foh ! — Hamlet, ii. 2. 
 Foh ! one may smell in such a will most rank. — 0th., iii. 3. 
 As I ? foh ! fie upon thee ! — -Ibid., v. i. 
 And smelt so ? pah ! — Hamlet, v. i. 
 
 Fie, fie, fie ! pah, pah ! Give me an ounce of civet, good apothecary, to sweeten my 
 imagination. — Lear, iv. 6. 
 
 And some of contempt, disparagement, slighting rejection, or lightly 
 waiving a subject : — 
 
 She is full of most blessed condition. — 
 Blessed figs' end . . . blessed pudding ! — 0th., ii. i. 
 Should be I should buz ! — Tam. of S., ii. i. 
 The actors are come hither, my lord. — Buz, buz ! — Hamlet, ii. 2. 
 What, with two points on your shoulder ? Much ! — 2 H. IV., ii. 4. 
 I promise you, my lord, you mov'd me much. — Much ! — Timon, i. 2. 
 Is it not past two o'clock ? and here much Orlando ! — As You L., iv. 3. 
 I '11 tell you what, — Pho, pho ! come, tell a pin : . . . 
 Guardian ! why, Greek ! — Pho, pho ! adieu ; you palter. — Tr. &• Cr., v. 2. 
 Pish ! — Pish for thee, Iceland dog ! — H. V., ii. i. 
 The incorporate conclusion : pish ! — 0th., ii. i. 
 It is not words that shake me thus ; pish ! — Ibid., iv. i. 
 
 Shakespeare also uses an old form of the above expression ; which 
 was sometimes spelt " push ": — 
 And made a push at chance and sufferance. — M. Ado, v. i. 
 Know you the quality of lord Timon's fury ? — 
 Push I did you see my cap ? — Timon, iii. 6. 
 
OATHS, EXCLAMATIONS, &-c. 471 
 
 Affection ! pooh ! you speak like a green girl. — Hamlet, i. 3. 
 The gods grant them true ! — True ! pow wow. — CorioL, ii. i. 
 Tilly-fally, Sir John, never tell me. — 2 H. IV., ii. 4.. 
 Am I not of her blood ?. Tilly-vally, lady. — Tw. N., ii. 3. 
 Tush '. I may as well say the fool's the fool. — .1/. Ado, iii. 3. 
 
 Tush, that 's a wooden thing ! . . . Tush, women have been captivate ere now. — 
 I H. VI., v. 3. 
 Tush, my good lord, this superficial tale. — Ibid., v. 5. 
 'Tis now near night. — Tush ! I will stir about. — R. &• Jul., iv. 2. 
 Some misadventure. — Tush ! thou art deceiv'd. — Ibid., v. i. 
 That they combine not there. — Tush, tush ! — Coriol., iii. 2. 
 Tush, tush, 'twill not appear.— Ham/«<, i. i. 
 Tut, a pin ! this shall be answered. — Merry W., i. i. 
 Tut, never fear me: I am as vigilant as. — i H. IV., iv. 2. 
 Tut'. I have the best armour of the world. — H. V., iii. 7. 
 Tut! that's a foolish observation. — 3 H. VI., ii. 6. 
 Tut, tut I grace me no grace, nor uncle me. — R. II., ii. 3. 
 Tut, tut '. here is a mannerly forbearance. — i H. VI., ii. 4. 
 Tut, tut, my lord, we will not stand to prate. — R. III., i. 3. 
 
 In the following passage Shakespeare uses the English equivalent to 
 the Italian e.xclamation, " Buona notte!" uttered to express a desperate 
 resignation, when a cause or a game is lost : — 
 
 If he fall in, good night ! or sink or swim. — i H. IV., i. 3. 
 
 He sometimes uses expressive interjections that denote particular 
 moods of mind or condition of body : — 
 
 Tom's a-cold, — Oh, do de, do de, do de [to denote teeth chattering and shivering]. 
 Bless thee from whirlwinds, star-blasting, and taking ! — Lear, iii. 4. 
 
 Dogs leap the hatch, and all are fled. Do de, de, de. — Ibid., iii. 6. 
 
 Fe,fe,fe,fe I [to denote heat and flurry]. Ma foi, il fait fort chaud. Jem'envaisa 
 la cour. — Merry W., i. 4. 
 
 Nay, an you get it, you shall get it by running. Sa, sa, sa, sa, [uttered by one 
 running off]. — Ibid., iv. 6. 
 
 Sola, sola .' [shouted out by one excitedly running]. — Love's L. L., iv. i. 
 
 Sola, sola 1 wo ha, ho ! sola, sola ! — Who calls ? — Sola .' did you see Master Lorenzo 
 and Mistress Loi'enzo ? Sola, sola .' — Leave hollaing, man : here. — Sola 1 where ? 
 where ? — Mer. of V.. v. i. 
 
 Sit down, Kate, and welcome. Soud, soud, soud, soud .' [to denote fatigue, heat, 
 and impatience. Shakespeare, like his great rival in comedy-writing, Moliere, took the 
 pains to invent and write down such kind of expressive interjections]. — Tarn. ofS., iv. i. 
 
 In the following passage our dramatist has employed interjections 
 descriptively, with excellent effect : — 
 
 He would manage you his piece thus : and he would about, and about, and come 
 you in, and come you in : " rah, tah, tah," would he say ; " bounce," would he say ; 
 and away again. — 2 H. IV., iii. 2. 
 
 Sometimes he gives interjections used avertively or deprecatinglj- : — 
 Ah, let be, let be ! thou art the armourer of my heart. — Ant. &• C, iv. 4. 
 From the mire of this [save reverence) love. — R. &• ^uL, i. 4. 
 And which gifts {saving yourminciiig) the capacity. — H. VIII., ii. 3. 
 The fiend, who, saving your reverence, is the devil himself. — Mer. of V., ii. 2. 
 Such a one as a man may not speak of, without he say sir-reverence [an old 
 corrupted form of ' save reverence ']. — Com. of E., iii. 2. 
 
472 THE SHAKESPEARE KEY. 
 
 To bring in {God shield us .') a lion among ladies. — Mid. N. D., iii. i. 
 God shield, you mean it not ! — All's W., i. 3. 
 God shield, I should disturb devotion ! — R. &- yuL, iv. i. 
 Sometimes he gives interjections used defiantly or mockingly : — 
 
 Do, do. — Thou stool for a witch ! — Ay, do, do ; thou sodden-witted lord! . . . do, 
 rudeness ; do, camel ; do, do. — Tr. &• Cr., ii. i. 
 Now the pledge ; now, now, now. — Ibid., v. 2. 
 Thou hast a fine forehead. — Ay, you may, you may. — Ibid., iii. i. 
 You are never without your tricks: you may, you may. — CorioL, ii. 3. 
 
 In the following passage he uses an interjection sarcastically : — 
 Still going ? This is a lord ! O, noble misery, to he.—Cym., v. 3. 
 Sometimes he uses an interjection insistingl : — 
 Ay, good now, love, love, nothing but love. — Tr. & Cr., iii. i. 
 Good now, sit down, and tell me. — Hamlet, i. i. 
 Sometimes, dissentingly : — 
 
 Take good Cominius with thee. ... the gods 1 — CorioL, iv. i. 
 And sometimes, deprecatingly : — 
 Hadst thou foxship to banish him ... blessed heavens'. — Ibid., iv. 2. 
 
 PARADOXICAL PHRASEOLOGY. 
 
 There are some of Shakespeare's passages which are written with so 
 much of paradox in their style, as to possess that startling effect of 
 quaintness and almost humour, which characterises the " Irish bull." 
 These passages occur in his serious as well as in his comic plays ; 
 because the great dramatist well knew that the human mind, in its 
 emotional moods — whether grave or gay — is apt to deal with, and even 
 to express itself, in strained forms of whimsical idea and imagery : — 
 I am gone, though I am here. — M. Ado, iv. i. 
 
 I must tell thee, sirrah, I ' write man ; to which title age cannot bring thee. — 
 AlVs W., ii. 3. 
 
 If thou 'It see a thing to talk on when thou art dead and rotten, come hither. — 
 W. T., iii. 3. 
 
 Great king, within this coffin I present 
 
 Thy buried fear. — R. II., v. 6. 
 
 And all thy friends — which thou must make thy friends — 
 
 Have but their stings and teeth newly ta'en out.— 2 H. IV., iv. 4. 
 Their wounded steeds 
 
 Fret fetlock deep in gore, and with wild rage 
 
 Yerk out their armed heels at their dead masters, 
 
 Killing them twice. — H. V., iv. 7. 
 
 Sword, I will hallow thee for this thy deed. 
 
 And hang* thee o'er my tomb when I am dead. — 2 H. VI., iv. 10. 
 
 And dead men's cries do fill the empty air. — Ibid., v. 2. 
 
 Well, lords, we have not got that which we have. — Ibid., v. 3. 
 
 Nor no one here ; for curses never pass 
 
 The lips of those that breathe them in the air. — R. III., i. 3. 
 
 * " And hang thee" is a boldly poetical ellipsis for ' And have thee hanged.' 
 
PARADOXICAL PHRASEOLOGY. 473 
 
 Then, taking him from thence that is not there, 
 
 You break no privilege nor charter there. — R. III., iii. i- 
 
 Richard except, those whom we fight against 
 
 Had rather, have us win than htm they follow. — Ibid., v. 3. 
 
 I do not know 
 What kind of my obedience I should tender ; 
 More than my all is nothing.— H. VIII., ii. 3. 
 You shames of Rome ! you herd of— boils and plagues 
 Plaster you o'er ; that you may be abhorr'd * 
 Farther than seen, and one infect another 
 Against the wind a mile ! — CorioL, i. 4. 
 We have power in ourselves to do it, but it is a power that we have no power to do. — 
 Ibid., ii. 3. 
 
 Would I were hanged, but / thought there was more in him than I could think. — 
 Ibid., iv. 5. 
 
 I would not be a Roman, of all nations ; I had as lief be a condemned man. — 
 Ibid., iv. 5. 
 
 That we did, we did for the best ; and though we willingly consented to his banishmen t 
 yet it was against our will. — Ibid., iv. 6. 
 
 She speaks, yet she says nothing : what of that ? 
 
 Her eye discourses, I will answer it. — R. &• jftil., ii. 2. 
 
 Thou know'st the mask of night is on my face. 
 
 Else would a maiden blush bepaint my check 
 
 For that which thou hast heard me speak to-night. — Ibid., ii. 2. 
 
 At what o'clock to-morrow 
 Shall I send to thee ? — At the hour of nine. — 
 I will not fail : His twenty years till then. — Ibid., ii. 2. 
 Now, 'when the bridegroom in the morning comes 
 To rouse thee from thy bed, there art thou dead. — Ibid., iv. i. 
 It tutors nature : artificial strife 
 Lives in these touches, livelier than life. — Timon, i. i. 
 
 Leak'd is our bark ; 
 And we, poor mates, stand on the dying deck. 
 Hearing the surges threat : we must all part 
 Into this sea of air. — Ibid., iv. 2. 
 If thou hadst not been bom the worst of men. 
 Thou hadst been a knave and flatterer. — Ibid., iv. 3. 
 Cowards die many times before their deaths ! 
 The valiant never taste of death but once. — jful. C, ii. 2. 
 We are two lions litter'd in one day. 
 And / the elderf and more terrible. — Ibid., ii. 2. 
 My thought, whose murder yet is but fantastical, 
 Shakes so my single state of man, that function 
 Is smother'd in surmise ; and nothing is 
 But what is not. — Macb., i. 3. 
 
 More is thy due than more than all can pay. — Ibid., i. 4. 
 If it were done when 'tis done, then 'twere well 
 It were done quickly. — Ibid., i. 7. 
 Father' d he is, and yet he's fatherless. — Ibid., iv. 2. 
 
 The queen that bore thee 
 Oftener upon her knees than on her feet, 
 Died every day she liv'd. — Ibid., iv. 3. 
 
 '■ Here "abhorr'd" is, with poetic licence, employed for 'smelt abhorringly.' 
 •f For an explanation of Shakespeare's peculiar and inclusive mode of employing the 
 word " elder," See Elder, &c., and Peculiar Use of Words. 
 
474 THE SHAKESPEARE KEY. 
 
 The poet adopted the foregoing expression from Scripture: "I pro- 
 test by your rejoicing, which I have in Christ Jesus our Lord, / die 
 daily." — i. Cor., xv. 31. 
 
 What you have charg'd me with, that have I done ; 
 
 And more, much more ; the time will bring it out : 
 
 'Tis past, and so am I. — Lear, v. 3. 
 
 I must be cruel, only to be kind. — Hamlet, iii. 4. 
 
 Whip me such honest knaves. — 0th., i. i. 
 
 For when my outward action doth demonstrate 
 
 The native act and figure of my heart 
 
 In compliment extern, 'tis not long after 
 
 But I will wear ray heart upon my sleeve 
 
 For daws to peck at : / am not what I am. — Ibid., i. i. 
 
 Her honour is an essence that 's not seen ; 
 
 They have it very oft, that have it not. — Ibid., iv. i. 
 
 Where is this rash and most unfortunate man ? — 
 
 That 's he that was Othello ; — here I am. — Ibid., v. 2. 
 
 What our contempts do often hurl from us. 
 
 We wish it ours again ; the present pleasure. 
 
 By revolution lowering, does become. 
 
 The opposite of itself: she's good, being gone. — Ant. &• C, i. 2. 
 
 I am his fortune's vassal, and / send him 
 
 The greatness he has got. — Ibid., v. 2. 
 
 Wherein I am false I am honest ; not true, to be tnte. — Cym., iv. 3. 
 
 So I '11 die 
 For thee, O Imogen, even for whom my life 
 Is, every breath, a death. — Ibid., v. i. 
 O Imogen ! I 'II speak to thee in silence. — Ibid., v. 4. 
 What think you ? — The same dead thing alive. — Ibid., v. 5. 
 By thine own tongue thou art condemn'd, and must 
 Endure our law : thou art dead. — Ibid., v. 5. 
 Yon sometime famous princes, like thyself. 
 Drawn by report, adventurous by desire. 
 Tell thee, with speechless tongues and semblance pale. 
 That, without covering, save yon field of stars, 
 Here they stand martyrs, slain in Cupid's wars ; 
 And with dead checks advise thee to desist. — Per., i. i. 
 Those that much covet are with gain so fond, 
 That what they have not, that which they possess. 
 They scatter and unloose it from their bond. 
 And so, by hoping more, they have but less ; 
 Or, gaining more, the profit of excess 
 Is but to surfeit, and such griefs sustain. 
 That they prove bankrupt in this poor-rich gain. — Lucrece, Stanza 20. 
 
 PARAPHRASES. 
 
 Shakespeare occasionally uses a paraphrase, or a periphrastic form 
 of expression. Sometimes seriously, with graceful etfect ; and some- 
 times playfully or humorously, with exaggerated effect : — 
 
 I with the morning's love [' Cephalus : ' of whom Aurora was enamoured] have oft 
 made sport. — Mid. N. D., iii. 2. 
 
PARAPHRASES. 475 
 
 Holla your name to the reverberate hills, 
 And make the babbling gossip of the air [' Echo '] 
 Cry out, Olivia ! — Tw. N., i. 5. 
 Fare ye well at once: my bosom is full of kindness; and I am yet so near the 
 manners of my mother [' so nearly betrayed into shedding womanish tears '] that, upon 
 the least occasion more, mine eyes will tell tales of me. — Ibid., ii. i. 
 
 And all my mother came into mine eyes [' all the womanly emotion in my nature 
 sprang to mine eyes '], and gave me up to tears. — H. V., iv. 6. 
 
 And embraced, as it were, from the ends of opposed winds [' the quarters whence the 
 four winds blow,' ' east to west, north to south,' ' opposite regions']. — W. T., i. i. 
 
 And my name yok'd with his that did betray the Best! ['Judas Iscariot's']. — 
 Ibid., i. 2. 
 
 And stop this gap of breath [' mouth '] with fulsome dust. — jfohn, iii. 4. 
 
 Now, now, you stars that move in your right spheres [' nobles who revolted, but have 
 now returned to your allegiance ']. — Ibid., v. 7. 
 
 His face thou hast, for even so look'd he. 
 
 Accomplished with the number of thy hours [' when he was of thy age ']. — R.II.,iu i. 
 
 Ten thousand bloody crowns of mothers' sons 
 
 Shall ill become the flower of England's face [' the flowery face of England's soil : ' 
 including the idea of the ' flower of England's youth,' ' the finest and choicest young men 
 of England']. — Ibid., iii. 3. 
 
 I can speak English, lord, as well as you ; 
 
 For I was train'd up in the English court ; 
 
 Where, being but young, I framed to the harp 
 
 Many an English ditty, lovely well. 
 
 And gave the tongue a helpful ornament [' gave the language the aiding ornament of 
 versification,' by vvriting poetry]. — i H. IV., iii. i. 
 
 I understand thy looks : that pretty Welsh [' those speaking tears '] which thou 
 pour'st down from these swelling heavens [' these blue eyes swollen with weeping 'J I 
 am too perfect in. — Ibid., iii. i. 
 
 They come like sacrifices in their trim. 
 
 And to the fire-ey' d maid of smoky war [' the goddess Bellona'], all hot and bleeding, 
 will we offer them. — Ibid., iv. 2. 
 
 Though it discolours the complexion of my greatness [' it makes my princehood 
 blush '] to acknowledge it. — 2 H. IV., ii. 2. 
 
 And the examples of every minute's instance [' that every minute produces or brings 
 forth ']. — Ibid., iv. i. 
 
 And consecrate commotion's bitter edge [' the sword of bitter contention and 
 rebellion']. — Ibid., iv. i. 
 
 And I, in the clear sky of fame, o'ershine you as much as the full moon doth the. 
 cinders of the element [' the stars '], which show like pins' heads to her. — Ibid., iv. 3. 
 
 Nay, more, to spurn at your most royal image. 
 
 And mock your workings in a second body [' set at naught your decrees as carried out 
 in the person of a deputed representative ']. — Ibid., v. 2. 
 
 Go, clear thy crystals [' dry thine eyes ']. — H. V., ii. 3. 
 
 Say, if my father render fair return [' send back a favourable answer'], it is against 
 my will. — Ibid., ii. 4. 
 
 Thus with imagin'd wing [' the wing of imagination '] our swift scene flies in motion 
 of no less celerity than that of thought.— 76i(f., iii. (Chortis). 
 
 Bring them, I pray thee, with imagin'd speed [' the speed of imagination '] unto the 
 Tranect, to the common ferry. — Mer. of V., iii. 4. 
 
 Small time, but, in that small, most greatly liv'd 
 
 This star of England [' Henry V.'].— H. V., v. 2 (Chorus). 
 
 And stood against them as the hope of Troy [' Hector '] 
 
 Against the Greeks that would have enter'd Troy. — 3 H. VI., ii. i. 
 
476 THE SHAKESPEARE KEY. 
 
 I pass'd, methought, the melancholy flood ['the river Styx'] 
 With that grim ferry -man [' Charon '] which poets write of, 
 Unto the kingdom of perpetual night. — R. III., i. 4. 
 Why, then the thing of courage ['the tiger'], as rous'd with rage, with rage doth 
 sympathise. — Tr. &• Cr., i. 3. 
 
 For that will physic the great Myrmidon [' Achilles ']. — Ibid., i. 3. 
 Come, draw this curtain, and let 's see your picture [' put back your veil, and let us 
 behold your face ']. — Ibid., iii. 2. 
 
 But we will draw the curtain, and show you the picture [' put back my veil, and let 
 you see my face']. — Tw. N., i. 5. 
 
 By all Diana's waiting-women [' the stars, attendant upon the crescent moon '] 
 yond', and by herself. — Tr. &• Cr., v. 2. 
 
 When with his Amazonian chin [' chin with no more beard upon it than an 
 
 Amazon's chin,' ' unbearded chin '] he drove the bristled lips before him. — Coriol., ii. 2. 
 
 Here I clip the anvil of my sword [' that body upon which I have heretofore laid as 
 
 heavy blows as those which a smith lays upon an anvil '] ; and do contest as hotly. — 
 
 Ibid., iv. 5. 
 
 Now, by the jealous queen of heaven ['Juno'], that kiss I carried from thee, dear. — 
 Ibid., V. 3. 
 
 Turn hack, dull earth ['the earthly part of me,' 'my body,' 'the corporeal and 
 material portion of me '], and find thy centre out. — R. &• yul., ii. i. 
 O blessed breeding sun, draw from the earth 
 Rotten humidity ; below thy sister's orb [' the moon '] 
 Infect the air ! — Timon, iv. 3. 
 And, but in the plainer and simpler kind of people, the deed of saying [' the fulfil- 
 ment of protestation '] is quite out of use. — Ibid., v. i. 
 
 Till that Bellona's bridegroom [' Macbeth ; worthy to be matched with the goddess 
 of war'], lapp'd in proof l^ incased in armour of proof], confronted him with self- 
 comparisons [' met him with competitive strokes equal to his own ']. — Macb., i. 2. 
 The wind-shak'd surge, with high and monstrous mane. 
 Seems to cast water on the burning bear [' the Great Bear constellation '], 
 And quench the guards of th' ever-fixed pole [' the star Arctophylax, guarding the 
 polar or North Star and the Great Bear ']. — 0th., ii. i. 
 
 Even then this forked plague [' this penalty of horns '] is fated to us when we do 
 quicken. — Ibid., iii. 3. 
 
 Now canopied under these windows [^ eyeM&s,' 'eyes,' 'casements'], white and azure, 
 lac'd with blue of heaven's own tinct. — Cym., ii. 2. 
 
 The roses in thy lips and cheeks shall fade 
 
 To paly ashes ; thy eyes' windows [' eyelids'] fall. — R. &• Jul., iv. i. 
 And makes Diana's rangers [' virgin ladies'] false themselves. — Cym., ii. 3. 
 This mortal house ['body,' 'perishable frame'] I'll ruin. 
 Do Csesar what he can. — Ant. &• C, v. 2. 
 He bears a tempest, which his mortal vessel [' his frail body '] tears, and yet he rides 
 it out. — Per., v. 4 (Gower). 
 
 Celestial Dian, goddess argentine [' deity of the silver moon '] I will obey thee. — 
 Ibid., V. 2. 
 
 PARENTHESES. 
 
 It is noteworthy that Shakespeare's parentheses are frequently of 
 very condensed significance, containing much earnestness and wisdom 
 put into extremely small space : — 
 
 If powers divine 
 Behold our human actions {as they do), 
 I doubt not then, but innocence shall make 
 False accusation blush. — W. T., iii. 2. 
 
PARENTHESES. 477 
 
 Force should be right ; or rather, right and wrong 
 
 {Between whose endless jar justice resides) 
 
 Should lose their names, and so should justice too. — Tr. & Cr., i. 3. 
 
 Rashly (and prais'd be rashness for it : let ns kno'w. 
 
 Our indiscretion sometimes serves us well, 
 
 When our deep plots do pall : and that should teach us 
 
 There 's a divinity that shapes our ends. 
 
 Rough-hew them how we will. — That is most certain. — ) 
 
 Up from my cabin, 
 
 My sea-gown scarl'd about me, in the dark 
 
 Groped I to find out them : had my i&sire.— Hamlet, v. 2. 
 
 Led him, begg'd for him, sav'd him from despair ; 
 Never [0 fault I) revealed myself unto him. — Lear, v. 3. 
 
 But when we in our viciousness grow hard 
 
 (Oh, misery on 't'.), the wise gods seel our eyes. — Ant. & C, iii. 11. 
 
 You do seem to know 
 Something of me, or what concerns me : pray you 
 (Since doubting things go ill often hurts more 
 Than to be sure they do ; for certainties 
 Either are past remedies, or, timely knowing. 
 The remedy then bom) discover to me 
 What both you spur and stop. — Cym., i. 7. 
 
 How should I be reveng'd ? If this be true — 
 As I have such a heart that both mine ears 
 Must not in haste abuse — if it be true. 
 How should I be reveng'd ? — Ibid., i. 7. 
 
 Shakespeare occasionally uses a peculiar form of construction in a 
 parenthetical sentence ; so that the parenthesis is much intermingled 
 with the context : — 
 
 Have not you seen, Camillo 
 (But that 's past doubt — you have, or your eye-glass 
 Is thicker than a cuckold's horn), or heard 
 (For, to a vision so apparent, rumour 
 Cannot be mute), or thought (for cogitation 
 Resides not in that man tliat does not think). 
 My wife is slippery ? — W. T., i. 2. 
 
 No more such wives : therefore, no wife : one worse. 
 And better us'd, would make her sainted spirit 
 Again possess her corse, and on this stage 
 (Where we offenders now appear) , soul-vex'd, 
 Begin, " And why to me ? " — Ibid., v. i. 
 
 In the above passage the First Folio prints ' And begin ' instead of 
 " Begin, And; " which is Capell's correction, adopted by Steevens and 
 others. We have also adopted it as being probable ; but we by no 
 means feel sure that, after all, the right reading in this speech is 
 attained. 
 
 If you '11 bestow a small (of what you have little) patience awhile, you '11 hear the 
 belly's answer. — Coriol., i. i. 
 
 'Amount' is elliptically understood after "small," and "of" is 
 understood as repeated after " little." 
 
478 THE SHAKESPEARE KEY. 
 
 PARTICULAR NAMES. 
 
 There are two names, a man's name and a woman's name, which 
 have always struck us as revealing something of Shakespeare's own 
 life-history, since he has twice employed each ; and, in both instances, 
 he has given the particular name to a particular kind of character. In 
 the first instance, he has given the name "Antonio" to the generous 
 and devoted friend of Bassanio in the " Merchant of Venice " ; and also 
 to the enthusiastic sea-captain who is the generous and devoted friend 
 of Sebastian in " Twelfth Night." [_See Appreciation of Friendship, 
 &c.] Antonio the royal merchant, in his worshipping attachment to the 
 young lord Bassanio, and Antonio the noble-natured sea-captain, in his 
 self-dedication to the patrician youth Sebastian, appear to us to mirror 
 Shakespeare's own adoring sentiment towards the unnamed object of 
 his friendship in the " Sonnets." Both these impersonations of manly 
 fondness for an idolised young friend — both these embodiments of 
 modest merit merging itself into passionate admiration of a chosen 
 ideal — both these dramatic characters, named alike "Antonio," have 
 long impressed us as being creations wherein the author put himself 
 and his own strength of affection into delineated form. In the second 
 instance, he has given the name " Rosaline " to the brilliant-com- 
 plexioned beauty with dark eyes and hair in " Love's Labour's Lost" ; 
 and to the brilliant-complexioned beauty with dark eyes and hair in 
 "Romeo and Juliet": while both these "Rosalines" bear strong 
 resemblance to the unnamed brilliant-complexioned beauty with dark 
 eyes and hair who figures in the Sonnets. The following passages, 
 thus brought together under one view, will serve to manifest the evident 
 points of similitude : — 
 
 A whitely* wanton with a velvet brow. 
 
 With two pitch balls stuck in her ia.ce for eyes. — Love's L. L., iii. i. 
 
 By heaven, thy love is black as ebony. — 
 
 Is ebony like her ? oh, wood divine. . . . 
 
 No face is fair that is not full so black. . . . 
 
 Devils soonest tempt, resembling spirits of light. 
 
 Oh, if in black my lady's brows be deckt. 
 
 It mourns that painting and usurping hair 
 
 Should ravish doters with a false aspect ! 
 
 And therefore is she born to make black fair. 
 
 Her favour turns the fashions of the days. 
 
 For native blood is counted painting now; 
 
 And therefore red, .that would avoid dispraise, 
 
 Paints itself fi/acA, to imitate her brow. . . . 
 
 I '11 prove her fair, or talk till doomsday here. — Ibid., iv. 3. 
 
 Ah! that sa.mt pale hard-hearted wench,-^ that Rosaline, 
 
 Torments him so, that he will sure run mad. . . . 
 Alas ! poor Romeo, he is already dead ! stabbed with a white wench's black eye.j — 
 R. &■ yul., ii. 4. 
 
 * This word (misprinted ' whitly ' in the Folio) appears to us to be the very epithet 
 to express a complexion that looks fair, almost white, and certainly dazzling, in con- 
 trast with black eyes, eyebrows, eyelashes, and hair. 
 
 f This conjunction of " pale " and "white" with "black," appears to us to be in 
 unison with the word " whitely " conjunctively 'vith " velvet " and " pitch," previously. 
 Epithets of seeming disparagement ; but, thus combined, implying beautiful contrast. 
 
PARTICULAR NAMES. 479 
 
 In the old age black was not counted fair, 
 
 Or if it were, it bore not beauty's name ; 
 
 But now is black beauty's successive heir. . . . 
 
 Therefore my mistress' eyes are raven black ; 
 
 Her eyes so suited, as they mourners seem 
 
 At such, who, not born fair, no beauty lack. 
 
 Slandering creation with a false esteem : 
 
 Yet so they mourn, becoming of their zaoc. 
 
 That every tongue says, beauty should look so. — Sonnet iz-j. 
 
 If hairs be wires, black wires grow on her head. . 
 
 And yet, by heaven, I think my love as rare 
 
 As any she belied with false compare. — Ibid. 130. 
 
 Thy black is fairest in my judgment's place. — Ibii. 131. 
 
 Thine eyes I love, and they, as pitying me. 
 
 Knowing thy heart torments me with disdain, 
 
 Have put on black, and loving mourners be, 
 
 Looking with pretty ruth upon my pain. 
 
 And truly not the morning sun of heaven 
 
 Better becomes the grey cheeks of the east, 
 
 Nor that full star that ushers in the even 
 
 Doth half that glory to the sober west, 
 
 As those tisjo mourning eyes become thy face : 
 
 O, let it, then, as well beseem thy heart 
 
 To mourn for me, since mourning doth thee grace, 
 
 And suit thy pity like in every part. 
 
 Then will I swear beauty herself is black. 
 
 And all they foul that thy complexion lack. — Ibid. 132. 
 
 The name, " Falstaff," now indelibly associated with all that is most 
 witty, most humorous, most epicurean, and most irresistibly pleasant 
 in dramatic delineation, was not the name originally bestowed by 
 Shakespeare on Prince Hal's companion, the fat knight who figures 
 in the "Merry Wives," in the First and Second Parts of "King 
 Henry IV.," and (by mention) in " King Henry V." There exists 
 internal evidence that the character was first called by its author 
 " Sir John Oldcastle " ; but as that was the name of a heroic martjT 
 known to history, Shakespeare renamed his immortal creation, and 
 called him " Sir John Falstaff." See the introductory notes to the 
 First and Second Parts of " King Henry IV.," and notes 41, i., and 
 94, v., to the " Second Part of King Henry IV." in our "Annotated 
 Edition of Shakespeare," published by Messrs. Cassell and Co., for the 
 details of this evidence. We have some idea that as one of the 
 characteristics of " Sir John Falstaff" is a luxurious regard to his 
 own safety, almost amounting to lack of bravery, the author may have 
 fabricated this name from that of " Sir John Fastolfe," the recreant 
 knight in the " First Part of King Henry VI." — a notorious coward. 
 
 In the invention of several names given to certain of his men 
 characters, Shakespeare has imparted significant effect to their respec- 
 tive appropriation : — 
 
 Sir Andrew Ague-cheek [the lank-witted knight in] — Tw. N. 
 
 Abhorson [the prison hangman and executioner in] — M.for M. 
 
 Ariel [the aerial and airy sprite in] — Temp. 
 
 Autolycus [the mercurial-natured and Mercury-propensitied rogue in] — W. T. 
 
 Sir Toby Belch [the burly toper in]— Tza. N. 
 
 Borachio [the dissolute ' wine-skin ' of a fellow in] — M. Ado. 
 
48o THE SHAKESPEARE KEY. 
 
 Young Charbon the Puritan and old Poysam the Papist [the first the French word 
 for ' coal ' or ' charcoal,' in allusion to the eternal fires with which the Puritan 
 preachers menaced their hearers ; the second, a corruption of the French word 
 poisson, in allusion to the fish eaten by Papists on fsist-days].— All's W ., i. 3. 
 
 Costard [the ruddy apple-faced and round apple-headed rustic in] — Love's L. L. 
 
 Dogberry [the officer of the watch who has " always been called a merciful man ; " 
 but who deems himself an exemplar of legal severity : to whom Shakespeare has given 
 one of the names of the cornelian cherry-tree, the fruit of which is remarkably austere ; 
 and who figures in] — M. Ado. 
 
 Dull [the doltish constable in']— Love's L. L. 
 
 Feste [the festive-spirited jester in]— Tw. JV. 
 
 Froth [the empty-headed " foolish gentleman " in] — Mfor M. 
 
 Gadshill [the highwayman on the famous road near Rochester in] — i H. IV. 
 
 Old Gobbo [the blind old hobbler, probably intended to be also a ' hunchback,' as 
 this Italian name implies, in] — Mer. of V. 
 
 Did not goodwife Keech [a lump of fat rolled up by butchers ready for the chandlers] , 
 the butcher's wife, come in. — 2 H. IV., ii. i. 
 
 Lafeu [the fiery old French nobleman in] — All's W. 
 
 Lavatch [probably a corruption of the French word lavage, a familiar term for 
 ' slop,' ' puddle,' ' washiness ' : the muddy-principled Clown who has " no mind to 
 Isbel " since he was at court, who stops his nose when accosted by one who has been 
 " muddied in fortune's mood," and who figures in] — Ibid. 
 
 Le Beau [the fine-gentleman courtier in] — As You L. 
 
 Marcus Luccicos* [the Greek soldier of Cyprus, or Estradiot, inquired for by the 
 Duke in]— Ott., i. 3. 
 
 Malvolio [the ill-willed steward, " sick of self-love," in] — Tw. N. 
 
 Moth [the little page who flutters round that tall tallow-candle and shining light of 
 fantasticalness, his master, Don Adriano de Armado, in] — Love's L. L. 
 
 Neighbour Mugs [the yawning First Carrier who, by his " an 't were not as good a. 
 deed as drink," is fond of lingering over his mug of ale, and who pudders about the 
 inn yard in] — i H. IV. 
 
 Nym [the pickpocket " coney-catching rascal " in] — M. W. and H. V. 
 
 Oswald [a name of Saxon origin, signifying ' house-ruler,' or ' major-domo ' ; and 
 given to the feudally faithful steward of Goneril, in] — Lear. 
 
 Parolles [the wordy braggart in] — All's W. 
 
 Pinch [the schoolmaster and conjuror, described as " a hungry, lean-fac'd villain, a 
 mere anatomy ... a needy, hollow-ey'd, sharp-looking wretch, a living dead man," 
 in] — Com of E., v. i. 
 
 Pistol [the ever-recoiling, sharp-snapping, noisy swaggerer, in] — M. W., i and 
 2 H. IV., and H. V. 
 
 Proteus [the fickle, unstable, changeable lover in] — Two G. of V. 
 
 Puff of Barson [puffed off by Silence, as greater than " one of the greatest men in 
 the realm," in] — 2 H. IV., v. 3. 
 
 Shallow [the un-deep justice, believing himself to be of unfathomable profundity, in] 
 — Merry W. and 2 H. IV. 
 
 Silence [the taciturn justice, prone admirer of Shallow, in] — 2 H. IV. 
 
 Slender [limp and attenuated worshipper of his " Cousin Shallow " and of " sweet 
 Anne Page," in] — Merry W. 
 
 Simple [the simpleton servant to simpleton Master Slender, in] — Ibid. 
 
 Sly [the cunning tinker, who shirks paying his reckoning, and sticks fast to " ^ pot 
 of small ale," in] — Tam. of S. (Indue.) 
 
 Master Surecard [for whom Sir John Falstaff mistakes Master Silence]. — 
 2 H. IV., iii. 2. 
 
 * This is the form of name given by both Folio and Quarto edition of our poet ; 
 though Capell and others alter it to ' Lucchese.' 
 
PARTICULAR NAMES. 481 
 
 Touchstone [the faithful cheerful-hearted jester, whose attachment is tested by 
 following his lady mistress into exilej. — As You L. 
 
 Verges [a corruption of ' verjuice,' which is made from crab-apples: "a good old 
 man," and "hones: as the skin between his brows '' ; but who fancies he emulates his 
 " partner," Dogberry in official austerity and crabbedness. and clinches his hardest-to- 
 swallow assertions of being " the malefactors," &c., with a sapless ■' Nay, that's 
 certain "J. — M. Ado. 
 
 Shakespeare has also given some expressive names to some of his 
 vvfomen characters : — 
 
 Cordelia [the cordial daughter of the wilful and ill-used old king; who hoards in her 
 heart her filial love, till she pours it forth in the hour of her father's distress]. — -Lear. 
 
 Diana [the chaste evader of Bertram's illicit suitj. — All's W. 
 
 Marina [the princess " born at sea "j. — Per. 
 
 Miranda [the "admired" of Prince Ferdinand]. — Temp. 
 
 Patience [the gentle waiting-gentlewoman of Queen Katharine]. — H. VIII. 
 
 Perdita [the " lost " daughter of Leontes and Hermione]. — W. T. 
 
 Viola [the sweet lady in page's weeds, like the modest violet lurking beneath the 
 hedge-side grass and wild-flowers.] — Tw. N. 
 
 Jane Nightwork [the flaunting " bona-roba," who " heard the chimes at midnight " 
 with Falstaff and Shallow " in the Windmill in Saint George's Fields "j. — 2 H. IV. 
 
 Mistress Overdone [the old hardworkerin loathliest trade]. — M.forM. 
 
 Hostess Quickly [the active landlady of the Boar's Head tavern in Eastcheap]. — 
 
 1 and 2 H. IV. and H. V. 
 
 Mistress Quickly [the pottering busy-body of Windsor; probably the spinster sister 
 of Hostess Quickly]. — Merry W. 
 Doll Tear-sheet [the rantipole companion of Sir John Falstaff and his associates]. — 
 
 2 H. IV. 
 
 The dramatist has given several groups of characteristic names : — 
 
 Here 's young Master Rash. . . . Then is there here one Master Caper, at the suit 
 of Master Three-file the mercer. . . . Young Dizzy, and young Master Deep-vow, 
 and Master Copper-spur, and Master Starve-lackey . . . and young Drop-heir that 
 killed lusty Pudding, and Master Forthright the tilter and brave Master Shoe-tie the 
 great traveller, and wild Half-can that stabbed Pots [the set of lawless young scamps 
 and scapegraces met by the Clown in prison]. — M.for M., iv. 3. 
 
 Peter Quince, the ca.rpentei ; Snug, the joiner; Nick Bottom, the weaver; Francis 
 Flute, the bellow's-mender ; Tom Snout, the tinker ; Robin Starveling, the tailor [the 
 "hempen-homespuns," the "rude-mechanicals" who enact the interlude before Duke 
 Theseus and his court]. — Mid. N. D. 
 
 Peas-blossom, Cobweb, Moth, and Mustard-seed [the fairy-attendants upon Queen 
 Titan ia]. — Ibid. 
 
 Fang and Snare [the sheriffs' officers in] — 2 H. IV. 
 
 Little jfohn Doit of Staffordshire, and black George Bare, and Francis Pickbone. and 
 Will Squele, a Cotswold man, — you had not four such swinge-bucklers in all the inns 
 of court again [the four riotous provincial associates of Master Shallow in his mad 
 metropolitan career of former London days]. — 2 H. IV., iii. 2. 
 
 Mouldy, Shadow, Wart, Feeble and Bull-calf [the raw recruits provided by Justice 
 Shallow for selection by Falstatf]. — Ibid. 
 
 Simon Catling, Hugh Rebeck, and fames Soiindpost [" the musicians " bantered by 
 Peter. See Musical Terms]. — R. &> ful., iv. 5. 
 
 Shakespeare has some dramatically adopted names : — 
 
 Aliena [the name adopted by Princess Celia, when she goes with her cousin into 
 exile, voluntarily alienating herself from her father].— ^5 You L., i. 3. 
 Cesario [the name adopted by Viola, when passing as a youth]. — Tw. N., i. 4. 
 
 2 I 
 
482 THE SHAKESPEARE KEY. 
 
 Richard du Champ [the name given by Imogen to her supposed dead master]. — 
 Cym., iv. 2. 
 
 Fidele [the name given by Imogen as her own, when she is met by Belarius and her 
 brothers, disguised as a boy, in their cave]. — Ibid., iii. 6. 
 
 Ganymede [the name assumed by RosaHnd when going into exile, dressed as a young 
 lad]. — As You L., i, 3. 
 
 Lodowick [the name taken by Dulce Vincentio, when he is in the garb of a friar]. — 
 M.for M., V. I. 
 
 Roderigo [the name temporarily assumed by Sebastian after shipwreck]. — ra'.A^.,ii. i. 
 
 Sebastian [the name under which Julia engages herself to Proteus as his page]. — 
 Two G. of v., iv. 4. 
 
 Sir Topas [the name adopted by Feste tlie clown, when he presents himself to 
 Malvolio as the curate fetched to visit the steward in his imputed madness. There is 
 peculiar propriety in this name ; inasmuch as among the alleged properties of precious 
 stones, the topaz was believed to possess the virtue of curing insanity]. — Tw. N., iv. 2. 
 
 In the following instance, Shakespeare uses the same name for two 
 different personages in one play; for a suitor of Julia in Verona, and 
 for the faithful friend of Silvia in Milan : — 
 
 What think'st thou of the fair Sir Eglamour ? — -Two G.ofV., 1.2. 
 
 Sir Eglamour, a thousand times good morrow. — Ibid., iv. 3. 
 
 In the following instance, Shakespeare gave duplicate names, 
 Antipholus and Dromio, to the two pair of twins, for the sake of the 
 dramatic equivoque maintained throughout the play ; but the passages 
 here quoted impart naturalness to the circumstance by showing that 
 originally the four boys had some distinguishing appellation, though 
 ■ subsequently one of each pair of twins, in remembrance of his lost 
 brother, takes his name : — 
 
 A joyful mother of two goodly sons ; 
 
 And, which was strange, the one so like the other. 
 
 As could not be distinguish' d but by names. — Com. of E., i. i. 
 
 That his attendant — for his case was like. 
 
 Reft of his brother, but retain'd his name — 
 
 Might bear him company in the quest of him. — Ibid., i. i. 
 
 In two plays, Shakespeare has made use of a name slightly varied : — 
 What think'st thou of the rich Mercatio ? — Two G. of V., i. 2. 
 Peace, peace, Mercutio, peace 1 — R. &• Jul., i. 4. 
 
 And in two plays, he has used the same name (according to Italian 
 wont) as a man's name and as a woman's name : — 
 Signior Baptista, will you be so strange? — Tarn, of S., i. i. 
 Gonzago is the duke's name ; his wife, Baptista. — Hamlet, iii. 2. 
 
 He has used four names apparently in remembrance of old familiar 
 Stratford-on-Avon names : — 
 
 Here comes fair Mistress Anne [the name of one of the poet's sisters as well as of 
 his wife]. — Merry W., i. i. 
 
 Come apace, good Audrey ;' I will fetch up your goats, Audrey. And how, Audrey ? 
 Am I the man yet? — As You L.. iii. 3. 
 
 Bardolph.'^Merry W., i and 2 H. IV., H. V. 
 
 Captain Fluellen," you must come presently. ^ffc«. V., iii. 2. 
 
 • All these three names have been ascertained to have belonged to neighbours in 
 Shakespeare's native town. 
 
PARTICULAR NAMES. 483 
 
 He uses some familiar forms of Christian names [See Variations] : — 
 For Dickon [Richard] thy master is bought and sold — JR. III., v. 3 (Scroll). 
 Jockey [John] of Norfolk, be not too bold. — lUd.., v. 3 (Scroll). 
 Wilt thou not, Jule [Juliet] 7—R. &■ Jul., i. 3. 
 It is such another Nan [Anne]. — Merry W., i. 4. 
 
 He uses some common names to express generalisation ; " the usual 
 run of men or women," or 'just such kind of people ' : — 
 
 Some mumble-news, some trencher-Jcnight, some Dick, 
 
 That smiles his cheek in years. — Love's L. L., v. 2. 
 
 To beg of Hob and Dick, that do appear. 
 
 Their needless vouches ? — CorioL, ii. 3. 
 
 Since every Jack became a gentleman. 
 
 There 's many a gentle person made a Jack. — R. III., i. 3. 
 
 Our wooing doth not end like an old play ; 
 
 Jack hath not Jill. — Love's L. L.,v. 2. 
 Be the Jacks fair within, the Jills fair without. — Tarn, of S., iv. i. 
 Some men must love my lady, and some Joan. — Love's L. L., iii. i. 
 Well, now can I make any Joan a lady. — John, i. i. 
 As Tib's rush for Tom's forefinger. — All's W., ii. 2. 
 
 In several passages Shakespeare denotes the then custom of using 
 " Jack " as an expression of contempt : — 
 Little better than played the Jack with us. — Temp., iv. i. 
 By gar, I will kill de Jack priest. — Merry W., i. 4. 
 He is de coward Jack priest of de vorld. — Ibid., ii. 3. 
 Or do you play the flouting Jack, to tell us. — M. Ado, i. i. 
 She did call me rascal fiddler, and twangling Jack. — Tarn, of S., ii. i. 
 A mad-cap ruffian, and a swearing Jack. — Ibid., ii. i. 
 Tell me flatly I am no proud Jack, like Falstaff. — i H. IV., ii. 4. 
 The prince is a Jack, a sneak-cup. — Ibid., iii. 3. 
 If I be not Jack Falstaff, then am I a Jack. — Ibid., v. 4. 
 Abus'dby silken, sly, insinuating Jacks. — R. III., i. 3. 
 Lustier than he is, and twenty such Jacks. — R. &• Jul., ii. 4. 
 
 In the following passages Shakespeare has recorded the custom 
 that prevailed in his time of giving particular names to particular 
 houses, especially houses of entertainment and houses of commerce : — 
 
 Go bear it to the Centaur, where we host. — Com. of E., i. 2. 
 
 Home to your house, the Phoenix, sir, to dinner. — Ibid., i. 2. 
 
 Brin" it, I pray you, to the Porcupine ; for there 's the house. — Ibid., iii. i. 
 
 And let us to the Tiger all to dinner. — Ibid., iii. i. 
 
 In Genoa, where we were lodgers at the Pegasus. — Tarn, of S., iv. 4. 
 Where do the palmers lodge, I do beseech you ? — 
 At the Saint Francis here, beside the port. — All's W., iii. 5. 
 
 At the Elephant, is best to lodge. . To the Elephant. — Tw. N., iii. 3. 
 
 The duke being at the Rose, within the parish St. Laurence, Poultry. — H. VIII., i. 2. 
 
 Lead to the Sagittary* the raised search. — 0th., i. i. 
 
 * It has been supposed by some commentators that an inn is here meant ; and by 
 another (Mr. Charles Knight) that an oSicial residence at the Venetian arsenal is 
 meant. But, inasmuch as Cassio's question, "What makes he here? " shows that it is 
 neither Othello's own "lodging" nor his usual military quarters, and moreover that 
 the senate send " several quests " in search of him, we believe " the Sagittary " to be 
 
 2 I 2 
 
484 THE SHAKESPEARE KEY. 
 
 He has also noted the custom which formerly prevailed of giving 
 particular names to particular rooms, especially in taverns or houses 
 of public entertainment ; and which custom lasted even to as late a 
 period as Goldsmith's time, who, in his pleasant comedy of " She 
 Stoops to Conquer," makes his heroine, when impersonating a bar- 
 maid, exclaim, " attend the Lion there ; pipes and tobacco for the 
 Angel ; the Lamb has been outrageous this half-hour" : — 
 
 'Twas in the Bunch of Grapes, where, indeed, you have a delight to sit, have you 
 not ? — I have so, because it is an open room, and good for winter. — M.for M., ii. i. 
 
 Score a pint of bastard in the Half Moon. . . . Look down into the Pomegranate, 
 Ralph.— I H. IV., ii. 4. 
 
 Sitting in my Z)o//i/iJ«-chamber. — 2 H. IV., ii. i. 
 
 He has given particular names of pirates ; the first being that of a 
 Ragusan vessel (called a " Ragozine," from the island of Ragusa, or 
 Ragosa) ; the second having possibly been suggested by the fact that 
 Don Pedro de Valdes was an admiral in the fleet of the Spanish 
 Armada ; the dramatist thinking that to assign this hostile admiral's 
 name to a "pirate," was likely to prove a popular point with an 
 Elizabethan audience : — 
 
 One Ragozine, a most notorious pirate. — M.for M., iv. 3. 
 
 These roguing thieves serve the great pirate Valdes. — Per., iv. 2. 
 
 He has given particular names of ships ; the first in the following 
 list, being an Italian vessel, it is well named in honour of the great 
 Genoese admiral, Andrea Doria : — 
 And see my wealthy Andrew dock'd in sand. — Mer. of V., i. i. 
 The Antoniad, the Egyptian admiral, with all their sixty, fly. — Ant. &• C, iii. 8. 
 That the bark Expedition put forth to-night ; and then were you hindered by the 
 sergeant, to tarry for the hoy Delay. — Com. of E., iv. 3. 
 
 That took the Phoenix and her fraught from Candy ; 
 And this is he that did the Tiger board. — Tw. iV., v. i. 
 Her husband 's to Aleppo gone, master o' the Tiger." — Macb., i. 3. 
 'Faith, he to-night hath boarded a land carrack. — 0th., i. 2. 
 Who sent whole armadas of carracks to be ballast at. — Com. of E., iii. 2. 
 The ooze, to show what coast thy sluggish crare 
 Might easiliest harbour in ? — Cym., iv. 2. 
 Than three great argosies ; besides two galliasses, 
 And twelve tight galleys. — Tam. of S., ii. i. 
 He hath an argosy bound to Tripolis, another to the Indies. — Mer. of V., i. 3. 
 The ship is here put in, a Veronessa. — Otk., ii. i. 
 
 Particular names of horses : — , 
 
 When Eolingbroke rode on roan Barbary. — R. II., v. g. 
 
 some newly taken house, bearing the classical name and sign of a certain fabulous 
 beast, described in Caxton's "History of the Destruction of Troy," as being half horse, 
 half man, with " eyen red as a cole, and shotte well with a bowe." That Othello sub- 
 sequently says to lago : — " Ancient, conduct them ; you best know the place,'' confirms 
 our idea that the' dramatist intended it as some secluded residence to which the Moorish 
 general had conveyed his lately made bride, and that its whereabouts was known only 
 to himself and to his trusted officer, the supposed " honest lago." 
 
 * Sir W. C. Trevelyan has pointed out that in " Hakluyt's Voyages " there are 
 several letters and journals of a voyage made to Aleppo in the ship Tiger, of London, 
 in the year 1583. 
 
PARTICULAR NAMES. 485 
 
 Let him let the matter slip, and I '11 give him my horse, grey Capilet.' — Tw. N., iii. 4. 
 
 I 'd give bay Curtal and his furniture. — AWs W., ii. 2. 
 
 I pr'ythee, Tom, beat Cut's saddle, put a few. — i H. IV., ii. i. 
 
 Than Dobbin my phill-horse has on his tail. — Mer. of V., ii. 2. 
 
 Now here he fights on Galathe his horse. — Tr. &• Cr., v. 5. 
 
 Saddle White Surrey for the field to-morrow. — R. III., v. 3. 
 
 Particular names of dogs : — 
 
 He will spend his mouth, and promise, like Brabbler the hound. — Tr. &• Cr., v. i. 
 I had rather hear Lady, my brack, howl. — i H..IV., iii. i. 
 When Lady, the brack, may stand by the fire and ^tink. — Lear, i. 4. 
 
 Huntsman, I charge thee, tender well my hounds : 
 
 Trash Merriman — the poor cur is emboss'd ; 
 
 And couple Clowder with the deep-mouth'd brack. 
 
 Saw'st thou not how Silver made it good 
 
 At the hedge-corner, in the coldest fault ? 
 
 I would not lose the dog for twenty pound. — 
 
 Why, Belman is as good as he, my lord . . . 
 
 ... if Echo were as fleet. — Tam. of S., Indue, i. 
 Sowter will cry upon 't, for all this. — Tm. N., ii. 5. 
 
 The little dogs and all. 
 
 Tray, Blanch, and Sweet-heart, see, they bark at me. — Lear, iii. 6. 
 Where 's my spaniel Troilus ? — Tam. of S., iv. i. 
 Hope is a curtail-dog in some affairs. — Merry W., ii. i. 
 
 She had transformed me to a curtail-dog, and made me turn i' the wheel. — Com . 
 of E., iii. 2. 
 
 Mastiff, greyhound, mongrel grim. 
 
 Hound or spaniel, brack or lym. 
 
 Or bobtail tike, or trundle-tail. — Lear, iii. 6. 
 
 As koiinds, greyhounds, mongrels, spaniels, curs, 
 
 Shougks, water-rugs, and demi-wolves are cleped 
 
 All by the name of dogs. — Macb., iii. i. 
 
 Particular names for cats : — 
 
 I am as melancholy as a gib cat, or a lugged bear. — i H. IV., i. 2. 
 From a bat, a gib, such dear concernings hide ? — Hamlet, iii. 4. 
 I come, Graymalkin ! — Macb., i. i. 
 
 Why, what is Tybalt ? — More than prince of cats, 
 
 I can tell you. — R. &• Jul., ii. 4. 
 
 Particular names for birds : — 
 
 I hear the strain of strutting chanticleer. — Temp., i. 2 (Song). 
 
 My lungs began to crow like chanticleer. — -As You L., ii. 7. 
 Another way I have to man my haggard, 
 To make her come, and know her keeper's call ; 
 That is, to watch her, as we watch these kites 
 That bate, and beat, and will not be obedient. — Tam. of S., iv. i. 
 
 Not, like the haggard, check at every feather. — Tw. N., iii. i. 
 
 As coy and wild as haggards of the rock. — M. Ado, iii. i. 
 
 «And, ten to one, old jfoan had not gone out. — 
 But what a point, my lord, your falcon made, 
 And what a pitch she flew above the rest ! — 2 H. VI., ii. i. 
 
 * That " capel " was a name for a horse, we learn from two lines in Chaucer : — 
 To kepe him on his capel out of the slough. 
 And if he falle from of his capel eftsone. 
 
 Manciple's Prol., Cant. Tales. 
 
486 THE SHAKESPEARE KEY. 
 
 Thou art woman-tir'd, unroosted by thy Dame Partlet here. — W. T., ii. 3. 
 
 How now, Dame Partlet the hen ! have you. — i H. IV., iii. 3. 
 
 Philip ? sparrow ! James, there 's toys abroad. — yohn, i. i. 
 
 Philomel, with melody, sing in our sweet lullaby. — Mid. N. D., ii. 3 {Song). 
 
 By this, lamenting Philomel had ended 
 
 The well-tun'd warble of her nightly sorrow. — Lucrece, Stanza 155. 
 
 Who finds the partridge in the pnttock's nest. 
 
 But may imagine how the bird was dead. 
 
 Although the kite soar with unbloodied beak ? — 2 H. VI., iii. 2. 
 An owl, aputtock, or a herring without a roe. — Tr. &• Cr., v. i. 
 I chose an eagle, and did avoid aputtock. — Cym., i. 2. 
 The ruddock would, with charitable bill. — Cym., iv. 2. 
 
 A name for a hare : — 
 
 By this, poor Wat, far oif upon a hill. 
 
 Stands on his hinder legs with listening ear. 
 
 To hearken if his foes pursue him still. — V. &• Adon., Stanza 117. 
 
 The name of a bear (it having been a custom to give to the most 
 known of these animals in bear-baiting exhibitions, the names of their 
 leaders or keepers) : — 
 
 I have seen Sackerson loose twenty times, and have taken him by the chain. — 
 Merry W., i. i. 
 
 A name for a toad : — 
 Paddock calls : anon ! — Macb., i. i. 
 Sober, wise, would from a paddock, from a. — Hamlet, iii. 4. 
 
 Names for fiends : — 
 
 Amaimon sounds well ; Lucifer, well ; Barbason, well ; yet they are all devils' 
 additions, the names of fiends. — Merry W., ii. 2. 
 
 He of Wales, that gave Amaimon the bastinado. — i H. IV., ii. 4. 
 I am not Barbason ; you cannot conjure me. — H. V., ii. i. 
 This is the foul fiend, Flibbertigibbet : he begins. — Lear, iii. 4. 
 Frateretto calls me ; and tells me Nero is. — Ibid., iii. 6. 
 Hopdance cries in Tom's belly for two white herring. — Ibid., iii. 6. 
 How now, Mephistophilus I — Merry W., i. i. 
 Modo he 's called, and Mahu.— Lear, iii. 4. 
 It would control my dam's god, Setebos. — Temp., i. 2. 
 Peace, Smulkin ; peace, thou fiend ! — Lear, iii. 4. 
 
 Names of certain fruits : — 
 
 I am withered like an old apple-john. — i H. IV., iii. 3. 
 
 What the plague hast thou brought there ? apple-johns ? thou knowest Sir John 
 cannot endure an apple-john . . . the prince once set a dish of apple-johns before 
 him. — 2 H. IV., ii. 4. 
 
 Feed him with apricocks, and dewberries. 
 
 With purple g-ra^cs, green Jigs, and mulberries. — Mid. N. D., iii. i. 
 
 Or a codling when 'tis almost an apple. — Tw. N., i. 5. « 
 
 There is a dish of leather-coats for you. — 2 H. IV., v. 3. 
 
 We will eat a last year's pippin of my own graffing. — Ibid., v. 3. 
 
 I will make an end of my dinner; there 's pippins and cheese to come. — 
 Merry W., i. 2. 
 
 Ripe as a pomemater, who now hangeth. — Love's L. L., iv. 2. 
 
 Thou a poprin pear I — R. &■ Jul., ii. i. 
 
PARTICULAR NAMES. 
 
 Thy wit is a very bitter sweeting; it is a. — R. &• jfnl., ii. 4. 
 Saffron, to colour the warden pies. — W. T., iv. 2. 
 
 Names of certain fish : — 
 
 Pray you, sir, use the carp as you may. — All's W., v. 2. 
 To change the cod's head for the salmon's tail. — 0th., ii. i. 
 And there is salmons in both. — H. V., iv. 7. 
 If the young dace be a bait for the old pike. — 2 H. IV., iii. 2.. 
 I will praise an eel with the same praise. — Love's L. L., i. 2.. 
 
 Or is the adder better than the eel 
 
 Because his painted skin contents the eye ? — Tain, of S., iv. 3. 
 As the cockney did to the eels, when she put them. — Lear, ii. 4. 
 
 But fish not, with this melancholy bait. 
 
 For this loo\-gudgeon, this opinion. — Mer, of V., i. i. 
 Ashamed of my soldiers, I am a soused gurnet. — i H.TV., iv. 2. 
 Then am I a shorten herring. — Ibid., ii. 4. 
 Or a herring without a roe, I would not care. — Tr. &• Cr., v. 1. 
 Without a roe, like a dried herring. — R. &• Jul., ii. 4. 
 As pilchards are to herrings, the husband 's the bigger. — Tw. N., iii. i. 
 Our old ling and our Isbels o' the country are nothing like your old ling and your 
 Isbels o' the court. — All's W., iii. 2. 
 
 Breeds fleas hke a loach. — i H. IV., ii. i. 
 
 You may buy land now as cheap as stinking mackerel. — Ibid., ii. 4. 
 A kind of. not of the newest, poor-john. A strange fish ! — Temp., ii. 2. 
 'Tis well thou art not fish ; if thou hadst, thou hadst been poor-John. — 
 R. &- Jul. i. I. 
 
 I am stung like a tench. — Like a tench ! — i H. IV., ii. i. 
 
 Here comes the trout that must be caught with tickhng. — Tw. N., ii. 5. 
 
 Groping for trouts in a peculiar river. — M.for M., i. 2. 
 
 Fantastical pet names for a sword : — 
 
 Have we not Hiren here? . . Then feed, and be fat, my fair Calipolis. — 
 2 H. IV., ii. 4. 
 
 The names of special places : — 
 Smell like Bucklersbury in simple-time, — Merry W., iii. 3. 
 To old Free-town, our common judgment-place. — R. &• Jul., i. i. 
 Goose, if I had you upon Sarum plain, 
 I 'd drive you home to Camelot. — Lear, ii, 2. 
 A Cotswold man . . behind Gray's Inn ... at Stamford fair the 
 
 windmill in Saint George's Fields . . . before I came to Clement's Inn . . I 
 remember at Mile End Green . . . the feats he hath done about Turnbiill Street. — 
 2 H. IV., iii. 2. 
 
 And he has some invented names of places : — 
 They say, he is already in the forest of Arden. — As You L., i. i. 
 My father was that Sebastian of Messaline, whom I know you have heard of. — 
 Tw. N.. ii. I. 
 
 With the spirit and vivacity of a true wit, Shakespeare is prolific in 
 nicknames : — 
 Let him be clapped on the shoulder and called Adam. — M. Ado, i. i. 
 Young Adam Cupid, he that shot so trim. — R. &> Jul., ii. i. 
 Well said. Adversity ! and what need these tricks. — Tr. &• Cr., v. i. 
 A la stoccata carries it away. — R. &• Jul., iii. i. 
 Draw, you whoreson culHonly barbermonger, draw. — Lear, ii. 2. 
 
4S8 THE SHAKESPEARE KEY. 
 
 Thou whoreson little Bartholomew boar-pig, when wilt. — 2 H. IV., ii. 4. 
 
 This bed-presser, this horseback-breaker, this huge hill of flesh. — i H. IV., ii. 4. 
 
 Thou bitch-wolf's son, canst thou not hear ? — Tr. &• Cr., ii. i. 
 
 Here's a Bohemian Tartar tarries the. — Merry W., iv. 5. 
 
 He dreamt the boar had rased off his helm ... to fly the boar before the boar 
 pursues . . . the boar will use us kindly. — R. III., iii. 2. 
 
 Away, you bottle -ale -rascal '. you basket-hilt stale juggler, you ! — 2 H. IV., ii. 4. 
 
 Why strew'st thou sugar on that bottled spider. — R. III., i. 3. 
 
 The very conveyances of his land will hardly lie in this box. — Hamlet, v. i. 
 
 Come, come, thou boy-queller, show thy face. — Tr. &• Cr., v. 5. 
 
 I will hold my peace when Achilles' ftracA bids me. — Ibid., ii. i. 
 
 And that damned brawn shall play Dame Mortimer. — i H. IV., ii. 4. 
 
 Marry, hang thee, brock .' — T-u;. N., ii. 5. 
 
 Thou cacodemon ! there thy kingdom is. — R. III., i. 3. 
 
 You whoreson candle-mine, you, how vilely. — 2 H. IV., ii. 4. 
 
 Alas, poor wretch ! ah, poor capocchia ! — Tr. &• Cr., iv. 2. 
 
 And a whole bookful of these quondam carpet-mongers. — M. Ado, v. 2. 
 
 Some carry-tale, some please-man, some slight zany, some mumble-news, some 
 trencher-knight. — Love's L. L., v. 2. 
 
 Those soft parts of conversation that chamberers have. — 0th., iii. 3. 
 
 How now, how now, chop-logic ! what is this ? — R. Sy Jul., iii. 5. 
 
 Why, thou clay-brained gats, thou knotty-pated fool, thou whoreson, obscene, greasy 
 tallow-keech. — i H. IV., ii. 4. 
 
 Reprieves for you and your coach-fellow, Nym. — Merry W., ii. 2. 
 
 Cobloaf .' — He would pun thee into shivers. — Tr. &■ Cr., ii. i. 
 
 Cry to it, nuncle, as the cockney did to the eels. — Lear, ii. 4. 
 
 With Satan : hang him, foul collier .' — Tw. N., iii. 4. 
 
 Go, go, you cot-quean, go ; get you to bed. — R. <&■ yiil., iv. 4. 
 
 A goodly count. Count Confect : a sweet gallant. — M. Ado, iv. i. 
 Most smiling, smooth, detested parasites, 
 Courteous destroyers, affable wolves, meek bears. 
 You fools of fortune, trencher friends, time's flies. 
 Cap and knee slaves, vapours, and minute-jacks 1 — -Timon, iii. 6. 
 
 There is three cousin-germans that has cozened. — Merry W., iv. 5. 
 
 If thou hast her not i' the end, call me cut. — Tw. N., ii. 3. 
 
 Away, you cut-purse rascal! you fllthy bung [See Cant Terms], away! — 
 2 H. IV., ii. 4. 
 
 For thou dost know, O Damon dear, this. — Hamlet, iii. 2. 
 
 Be-lee'd and calm'd by debitor and creditor, this counter-caster. — 0th., i. i. 
 
 Like three German devils, three Doctor Faustuses. — Merry W., iv. 5. 
 
 That same dog-fox, Ulysses. — Tr. &• Cr., v. 4. 
 
 Dromio, thou Dronio,* thou snail, thou slug, thou sot! — Com. of E., ii. 2. 
 
 Then fly, false thanes, and mingle with the English epicures.— Macb., v. 3. 
 
 'Faith, here 's an equivocator, that could swear in both the scales against either 
 scale ; who committed treason enough for God's sake, yet could not equivocate to 
 heaven : O, come in, equivocator. — Ibid., ii. 3. 
 
 How now, my eyas-musket ! — Merry W., iii. 3. 
 
 To be abus'd by one that looks on feeders. — Ant. &• C, iii. 11. 
 
 And, look, whether the fiery Trigon, his man. — 2 H. IV., ii. 4. 
 
 * The Folio prints this word ' Dromio,' and most editors alter it to ' drone ' ; but we 
 believe it to be a jocose alteration of Dromio's name, to indicate the lazy insect to 
 which he is hkened, in addition to " snail " and " slug." 
 
PARTICULAR NAMES. 489 
 
 That /re-rfraAe did I hit three times. . . . I missed the meicor once. — H. VIII., v. 3. 
 
 'Tis such another ^icAeiB .' marry, a perfumed one. — 0th., iv. i. 
 
 I am none of his Jiirt-gills ; I am none of his skains-mates. — R. &• Jul., ii. 4. 
 
 Is he dead, my Francisto? ha, bully ? What says my Esculapius ? my Galen ? my 
 heart of elder ? ha ! is he dead, bully stale ? is he dead }— Merry W., ii. 3. 
 
 Word of denial : froth and scum, thou liest. — Ibid., i. i. 
 
 Thrust him down-stairs ! know we not Galloway nags ? — 2 H. IV., ii. 4. 
 
 To be the pillage oia. giglot wench. — i H. VI., iv. 7. 
 
 At point (0 gigloi fortune !) to master Caesar's sword. — Cym., iii. i. 
 
 Why, thou globe of sinful continents, what a life. — 2 H. IV., ii. 4. 
 
 Is not this a lamentable thing, grandsire, that. — R. &• yul., ii. 4. 
 
 Ere I would drown myself for the love oi d^ guinea-hen [See Cant Teems], I would 
 change my humanity. — 0th., i. 3. 
 
 Stolen from me by the hangmen boys in the. — Two G. of V., iv. 4. 
 
 And the little hangman dare not shoot at him. — M. Ado, iii. 2. 
 
 How now, my headstrong ! where have you been gadding? — R. &• Jul., iv. 2. 
 
 Are these your herd ? Must these have voices. — Coriol., iii. i. 
 
 Before he should thus stoop to the herd. — Ibid., iii. 2. 
 
 When he perceived the common herd was glad he refused. — yul. C, i. 2. 
 
 Thou hilding of a devilish spirit. — Tain, of S., ii. i. 
 
 Out on her, hilding! — R. &• yul., iii. 5. 
 
 Thou elvish-mark'd, abortive, rooting hog ! — R. III., i. 3. 
 
 If I tell thee a lie, spit in my face, call me horse. — i H. IV., ii. 4. 
 
 hound of Crete, think'st thou my spouse to get ? — H. V., ii. i. 
 Romeo ! humours ! madman! passion! lover! — R. &• yul., ii. i. 
 Given Hydra here to choose an ofScer. — Coriol., iii. i. 
 
 Pish for thee, Iceland dog ! thou prick-eared cur of Iceland! — H. V., ii. i. 
 To be disgraced by an inkhorn mate. — i H. VI., iii. i. 
 Come, my young soldier, put up your iron. — Tw. N., iv. i. 
 
 1 will wink, and hold out mine iron. — H. V., ii, i. 
 
 Put up thy sword betime ; 
 
 Or I'll so maul you and your toasting-iron — yohn, iv. 3. 
 Without drawing their massy irons and. — Tr. &• Cr., ii. 3. 
 
 Yon island-carrions, desperate of their bones, 
 
 lU-favouredly become the morning field ; 
 
 Their ragged curtains poorly are let loose. — H. V., iv. 2. 
 You little yack-a-Lent, have you been true to us? — Merry W., iii. 3. 
 Is as arrant a villain and a yack-sauce. — H. V., iv. 7. 
 Someday of Italy, whose mother was her painting. — Cym., iii. 4. 
 We'll teach him to know turtles bom jays. — Merry W., iii. 3. 
 Like yohn-a-dreams, unpregnant of my cause. — Hamlet, ii. 2. 
 I wonder that such a keech can with his very. — H. VIII., i. i. 
 Unto this king of smiles, this Bolingbroke. — i H. IV., i. 3. 
 What, my dear Lady Disdain ! are you yet hving ? — M. Ado, i. i. 
 E'en so, and now my Lady Worm's. — Hamlet, v. i. 
 What, lamb, what lady-bird! — R. &• yul., i. 3. 
 Why lamb ! why, lady ! fie, you slug-a-bed ! — Ibid., iv. 5. 
 How now, lambs ! — Tr. &• Cr., iv. 4. 
 Thy tender lambkin now is king. — 2 H. IV., v. 3. 
 For, lambkins, we will live. — H. V., ii. i. 
 
 This lapwing runs away with the shell on his head. — Hamlet, v. 2. 
 Farewell, thou latter -spring ! Farewell, All-hallown summer ! — i H. IV., i. 2. 
 
49° THE SHAKESPEARE KEY. 
 
 Fetch forth the lazar kite of Cressid's kind.—H. V., ii. i. 
 
 Behold where Madam Mitigation comes l—M.for M., i. 2. 
 
 Thou whoreson mad compound of majesty.— i H. IV., ii. 4. 
 
 The kitchen malkin pins her richest lockram. — CorioL, ii. i. 
 
 Whilst ours was blurted at, and held a malkin.— Per., iv. 4. 
 
 And that arrant malmsey-nose-knave, Bardolph. — 2 H. IV., ii. i. 
 
 A whining mammet, in her fortune's tender. — R. &■ Jul., iii. 5. 
 
 This is no world to play with mammets. — i H. IV., ii. 3. 
 
 Mars his idiot! do, rudeness; do, camel; do, do.— T;-. <S- Cr., ii. i. 
 
 And how doth the martlemas, your master ? — 2 H. IV., ii. 2. 
 
 This is a riddling merchant for the nonce. — i H. VI., ii. 3. 
 
 What saucy merchant was this that was. — R. &• Jul., ii. 4. 
 
 That base minnow of thy mirth.— Love' s L L., i. i (Letter). 
 
 Minion, thou liest : is 't not Hortensio l—Tam. of S., ii. i. 
 
 Mistress minion, you, . . . out, you green-sickness carrion ! out, you baggage ! you 
 tallow face !—R. &■ Jul., iii. 5. 
 
 Mistress Thersites! — Tr. &• Cr., ii. i. 
 
 Mome, malt-horse, capon, coxcomb, idiot, patch ! — Com. of E., iii. i. 
 
 Thou mongrel beef-witted lord! — Tr. &• Cr., ii. i. 
 
 Ha ! the prince and Monsieur Love ! — M. Ado, ii. 3. 
 
 A word. Monsieur Mock-water. — Merry W., ii. 3. 
 
 What says Monsieur Remorse ?—i H. IV., i. 2. 
 
 Now I would pray our Moiisieurs to think. — H. VIII., i. 3. 
 
 That stale old mouse-eaten dry cheese, Nestor.— T;-. &• Cr., v. 4. 
 
 You have been a mouse-hunt in your time. — R. & Jul., iv. 4. 
 
 You muddy rascal. . . . Hang yourself, you muddy conger, hang yourself! — 
 2 H. IV., ii. 4. 
 
 Yet I, a dull and muddy-mettled rascal, peak. — Hamlet, ii. 2. 
 
 Ay, marry, was it, muscle-shell. — Merry W., iv. 5. 
 
 My fool usurps my body. — Lear, iv. 2. 
 
 Thus do I ever make my fool my purse. — 0th., i. 3. 
 
 Now, my sick fool Roderigo, whom love has turn'd. — Ibid., ii. 3. 
 
 Would not this nave of a wheel have his ears cut off.'' — 2 H. IV., ii. 4. 
 
 Stand, rogue, stand ; you neat slave, strike. — Lear, ii. 2. 
 
 Good night, my good owl. — Love's L. L., iv. i. 
 
 I bade the vile owl go learn me the tenor. — Tr. &• Cr., ii. i. 
 
 Out on ye, owls ! nothing but songs of death ? — R. III., iv. 4. 
 
 Come, come, you paraquito, answer me. — i H. IV., ii. 3. 
 
 He's a rogue, and a. passy -measures pavin. — Tw. N., v. i. 
 
 And now reigns here a very, very — peacock. — Hamlet, iii. 2. 
 
 But the peaking cornuto her husband. — Merry W., iii. 5. 
 
 So I do still, by iheis pickers and stealers-. — Hamlet, iii. 2. 
 
 What, ho. Pilch! . . . What, Patch-breech, I say! — Per., ii. i. 
 
 Will you pluck your sword out of his pilcher by the ears? — R. &• Jul., iii, i. 
 
 Peace, good pint-pot ! peace, good tickle-brain ! — i H. IV.. ii. 4. 
 
 To be so pester'd with a. popinjay. — Ibid., i. 3. 
 
 Do not, porcupine, do not: my fingers itch. — Tr. &• Cr., ii. i. 
 
 More than prince of cats, I can tell you. — R. &• Jul., ii. 4. 
 
 The black prince, sir; alias, the prince of darkness , . . but, sure, he is the prince of 
 the world. — All's W., iv. 5. 
 
 The prince of darkness is a gentleman. — Lear, iii. 4. 
 
 You are aprincox ; go : be quiet, or. — R. &• Jul., i. 5. 
 
PARTICULAR NAMES. 49^ 
 
 Very wisely, puppies ! — W. T., iv. 3. 
 
 As many inches as you have oceans. Puppies .' — Cym., i. 3. 
 
 I shall be with you presently, good master puppy. — H. VIII., v. 3. 
 
 How now, blown Jack! 'how now, quilt I — i H. IV-, iv. 2. 
 
 You rag, you baggage, you pole-cat, you ronyon ! — Merry W., iv. 2. 
 
 Thy father, that poor rag, must be thy subject. — Timon, iv. 3. 
 
 Thou rag of honour ! thou detested. — R. III., i. 3. 
 
 Lash hence these overweening rags of France. — Ibid., v. 3. 
 
 Tybalt, you rat-catcher, will you walk? — R. &• yiil., iii. i. 
 
 " Aroint thee, witch ! " the rump-fed ronyon cries. — Macb., i. 3. 
 
 Hang him, mechanical salt-butter rogue ! — Merry W., ii. 2. 
 
 Ah, thou say, thou serge, nay, thou buckram lord .' — 2 H. VI., iv. 7. 
 
 Out, scab '. — Nay, patience, or we break. — Tw. N., ii. 5. 
 
 Well said, i' faith. Wart ; thou art a good scab. — 2 H. IV., iii. 2. 
 
 What say you. Scarlet and fohn ? — Merry W., i. i. 
 
 Thy ambition, thou scarlet sin, robb'd this. — H. VIII., iii. 2. 
 
 Or I shall break that merry sconce of yours. — Com. of E., i. 2. 
 
 Or I will beat this method in your sconce. — Sconce call you it ? So you would leave 
 battering, I had rather have it a head : an you use these blows long, I must get a 
 sconce* for my head, and ensconce it too. — Ibid., ii. 2. 
 
 To knock him about the sconce with a dirty shovel. — Hamlet, v. i. 
 
 Away, you scullion ! you rampallian ! you fustilarian ! — 2 H. IV., ii. i. 
 
 Thou scurvy valiant ass ! thou art here. — Tr. &• Cr., ii. i. 
 
 You shames of Rome ! you herd of — . . . You souls of geese, that bear the shapes of 
 men. — CorioL, i. 4. 
 
 Is Signior Montanto returned from the wars. — M. Ado, i. i. 
 
 I would not be Sir Nob in any case.— yoA», i. i. 
 
 As who should say — I am Sir Oracle. — Mer. of V., i. i. 
 
 This ancient morsel, this Sir Prudence, who. — Temp., ii. i. 
 
 By Sir Smile, his neighbour. — W. T., i. 2. 
 
 Ay, Sir Tike, who more bold ? — Merry W., iv. 5. 
 
 And at this sport. Sir Valour dies. — Tr. &' Cr., i. 3. 
 
 The prince is a Jack, a sneak-cup. — i H. IV., iii. 3. 
 
 If I would time expend with such a snipe. — 0th., i. 3. 
 
 Ay, do, do; thou sodden-wiited lord'. — Tr. &' Cr., ii. i. 
 
 Spartan dog, more fell than anguish. — 0th., v. 2. 
 
 Away, you starveling, you elf-skin, you dried neat's tongue, bull's pizzle, you stock- 
 fish . . . you tailor's yard, you sheath, you bow-case, you vile standing-tuck. — 
 I H. IV., ii. 4. 
 
 Thou stool for a witch I — Tr. &■ Cr., ii. i. 
 
 0, my sweet beef, I must still be good. — i H. IV., iii. 3. 
 
 And that same sword-and-buckler Prince of Wales. — Ibid., i. 3. 
 
 1 warrant you, no tell-tale, nor no breed-bate. — Merry W., i. 4. 
 What a full fortune doth the thick-lips owe, if. — 0th., i. i. 
 
 What wouldst thou have, boor ? what, thick-skin ? — Merry W., iv. 5. 
 
 By inches, thou thing of no bowels, thou ! — Tr. &• Cr., ii. i. 
 
 Thou thin man in a censer . . . you blue-bottle rogue ! you filthy famished correctioner 
 . . . you starved bloodhound .' — Goodman death .' goodman bones .'—Thou atomy, 
 thou ! — come, you thin thing ! — 2 H. IV., v. 4. 
 
 * " Sconce " is here used in its original sense of a ' protective fortification.' 
 
492 THE SHAKESPEARE KEY. 
 
 Thou liest, thou thread, thou thimble, 
 Thon yard, three-quarters, half -yard, quarter, nail t 
 Thou flea, thou nit, thou winter-cricket thou ! 
 Brav'd in mine own house with a skein of thread ? 
 Away, thou rag, thou quantity, thou remnant. —Tarn, of S., iv. 3. 
 A base, proud, shallow, beggarly, three-suited, hundred-pound, filthy, worsted- 
 stocking knave ; a lily-livered, action-taking knave ; a whoreson glass-gazing, super- 
 serviceable , finical rogue ; one-trunk-inheriting slave. — Lear, ii. 2. 
 Toadstool, learn me the proclamation. — Tr. &• Cr., ii. i. 
 To the descent and dust below thy foot, 
 A most toad-spotted traitor. — Lear, v. 3. 
 I pressed me none but such toasts and butter.— i H. IV., iv. 2. 
 
 I '11 tell thee what, thou damned tripe-visaged rascal . . . thou paper-faced villain. — 
 2 H. IV., V. 4. 
 
 Hear you this Triton of the minnows ? — CorioL, iii. i. 
 Or an old trot with ne'er a tooth in her head. — Tam. of S., i. 2. 
 Ah, ha, boy! say'st thou so? art thou there, true-penny } — Hamlet, i. 5. 
 A tun of man is thy companion. Why dost thou converse with that trunk of 
 hitmours, that bolting-hutch of beastliness, that swoln parcel of dropsies, that huge 
 bombard of sack, that stuffed cloak-bag of guts, that roasted Manningtree ox with the 
 pudding in his belly, that reverend vice, that grey iniquity, that father ruffian, that 
 vanity in years? . . . that villainous abominable misleader of youth, Falstaff, that 
 old white-bearded Satan. — i H. IV., ii. 4. 
 
 Turk Gregory never did such deeds in arms. — Ibid., v. 3. 
 
 We'll use this unwholesome humidity, this gross watery pumpion, — Merry W., iii. 3. 
 Where be my horses ? speak well of them, varletto. — Ibid., iv. 5. 
 To velvet-guards, and Sunday citizens. — i H. IV., iii. i. 
 I see them lording it in London streets, 
 Crying — " Villiago!" unto all they meet. — 2 H. VI., iv. 8. 
 Speak, then, thou vinewd'st leaven, speak. — Tr. &• Cr., ii. i. 
 Dost know this water-fly ? — Hamlet, v. 2. 
 I do allow this wen to be as familiar with me. — 2 H. IV., ii. 2. 
 O this woodcock ! what an ass it is ! — Tam, of S., i. 2. 
 
 Who was wont to call them woollen vassals, things created to buy and sell with 
 groats. — CorioL, iii. 2. 
 
 How now, wool-sack ! what mutter you ? — i H. IV., ii. 4. 
 
 A mscally yea-forsooth knave . . . the whoreson smooth-pates do now wear nothing 
 but high shoes. — 2 H. IV., ii. i. 
 
 Thou whoreson zed, thou unnecessary letter 1 . . . Spare my grey beard, you 
 wagtail ! — Lear, ii. 2. 
 
 PARTS OF SPEECH DIVERSELY USED. 
 
 Much expressiveness and inclusiveness of effect is produced by the 
 mode in which Shakespeare occasionally uses various parts of speech 
 with different power from that which is strictly their own. He some- 
 times uses nouns as verbs : — 
 
 And make him with our pikes and partisans 
 
 A grave : come arm him [where the effect is succinctly expressed of ' take him up in 
 your arms']. — Cym., iv. 3. 
 
 Scald rhymers' ballad us out o' tune : the quick comedians extemporally will stage us. 
 — Ant. &• C, V. 2. 
 
PARTS OF SPEECH DIVERSELY USED. 493 
 
 And thou, his yoke-fellow of equity, bench by his side. — Lear, iii. 6. 
 Blanket my loins; elf all my hair in knots.— Ibid., ii. 3. 
 To book our dead, and then to bury them. — H. V., iv. 7. 
 And I will boot thee with what gift beside. — Ant. &• C, ii. 5. 
 I shall see some squeaking Cleopatra boy my greatness. — Ibid., v. 2. 
 There thou may'st brain him ... or paunch him. — Temp., iii. 2. 
 I '11 buckler thee against a million. — Tatn. of S., iii. 2. 
 No farther personal power to business with the king. — Hamlet, i. 2. 
 Will the cold brook, candied with ice, caudle thy morning taste. — Timon, iv. 3. 
 That such as we cave here, hunt here, are outlaws.— Cym., iv. 2. 
 The blessed gods purge all infection from our air, whilst you do climate here . — 
 W. T., V. I. . • 
 
 In my rights, by me invested, he compeers the best. — Lear, v. 3. 
 Dost dialogue with thy shadow ? — Timon, ii. 2. 
 All my right of her I do estate unto Demetrius. — Mid. N. D., i. 1. 
 My becomings kill me, when they do not eye well to you. — Ant. &* C, i 3. 
 And lather father thee than master thee. — Cym., iv. 2. 
 Foot it featly here and there. — Temp., i. 2 (Sojtg;). 
 And foot me, as you spurn a stranger cur. — -Mer. of V., i. 3. 
 I '11 knock her back, foot her home again. — Cym., iii. 5. 
 The holy eagle stoop'd, as to foot us. — Ibid., v. 4. 
 He .furnaces the thick sighs from him. — Ibid., i. 7. 
 Adoptions Christendoms, that blinking Cupid gossips. — All's W., i. i. 
 And ditches grave you all ! — Timon, iv. 3. 
 Or hoop his body more with thy embraces. — W. T., iv. 3. 
 Go bear it to the Centaur, where we host. — Com of E., i. 2. 
 I will bring you where you shall host. — All's W., iii. 5. 
 To hovel thee with swine and rogues forlorn. — Lear, iv. 7. 
 That were the most, if he should husband you. — Ibid., v. 3. 
 Yet neither pleasure's art can joy my spirits. — Per., i. 2. 
 And knee the way into his mercy. — Coriol., v. i. 
 I could as well be brought to knee his throne. — Lear, ii. 4. 
 And rather woo those that would mischief me. — Timon, iv. 3. 
 You shall nose him as you go up the stairs into. — Hamlet, iv. 3. 
 Will these moss'd trees . . . page thy heels. — Timon, iv. 3. 
 With ridiculous and awkward action. . . . he pageants us. — Tr. &• Cr., i. 3. 
 hnipall* thee in the dunnest smoke of hell. — Macb., i. 5. 
 And his own letter . . . must fetch him in he papers. — H. VIII., i. i. 
 That mine own servant shouli parcel the sum of my disgraces. — Ant. &> C, v. 2. 
 That relish all as sharply, passion as they. — Temp., v. i. 
 But with this I passion to say wherewith. — Love's L. L., i. i (Letter). 
 For if thou path, thy native semblance on. — yul. C, ii. i. 
 When the thunder would not peace at my bidding. — Lear, iv. 6. 
 Which, failing, periods his comfort. — Timon, i. i. 
 And nature prompts them . . to prince it. — Cym., iii. 3. 
 Qiioit him down, Bardolph, like a. — 2 H.IV., ii. 4. 
 Which calls me pupil, or hath readf to me ? — i H. IV., iii. i. 
 
 * " Pall " has been variously explained by several previous commentators ; but we 
 believe it to be one of Shakespeare's expressively framed verbs from nouns, and 
 signifying ' cover as with a funereal pall.' 
 
 + " Read " is here used for ' given counsel or information ' ; " read " being an antique 
 noun, signifying ' counsel,' ' advice,' 'imparted wisdom.' 
 
494 THE SHAKESPEARE KEY. 
 
 The things of fame, that do renown this city.—Tw. N., iii. 3. 
 Life-rendering pelican, repast them with my blood. — Hamlet, iv. 5. 
 Come, seeling night, scarf up the tender eye of pitiful day.— ilacb., iii. 2. 
 I '11 silence* me e'en here. — Hamlet, iii. 4. 
 
 That even her art sisters the natural roses ; 
 Her inkle, silk, twin with the rubied cherry.— Per., v. (Gower). 
 Sin-dieted man, that slaves your ordinance. — Lear, iv. i. 
 Thou dost stone my heart, and mak'st me.— 0//j., v. 2. 
 Rather than story him in his own hearing. — Cym., i. 5. 
 The smiles of knaves tent in my cheeks. — Coriol., iii. 2. 
 A birth, indeed, which throes thee much to yield.— Temp., ii. i. 
 The time's with labour; and throes forth," each min;ite, some.— Ant &■ C, iii. 7. 
 I should . . . uproar the universal pea.ce.—Macb., iv. 3. 
 
 That the first face of neither, on the start. 
 
 Can woman me unto 't. — All's W., iii. 2. 
 For all the sun sees, or the close earth wombs. — W. T., iv. 3. 
 He words me, girls, he words me, that I. — Ant. &• C, v. 2. 
 
 He sometimes uses nouns adjectively : — 
 
 Blow, villain, till thy sphered 6ms cheek outswell.— Tr. &■ Cr., iv. 5. 
 
 Hence, broker-\a.ckey I ignomy and shame. — Ibid., v. 11. 
 
 On the pendent boughs her coronet weeds clambering. — Hamlet, iv. 7. 
 
 Virtue is of so little regard in these costermonger times. — 2 H. IV., i. 2. 
 
 Looks with such ferret and such fiery eyes. — yiil. C, i. 2. 
 
 Is of so flood-gate and o'erbearing nature. — Otk.. i. 3. 
 
 Yet godf Achilles still cries, " Excellent ! "—Tr. &■ Cr., i. 3. 
 
 That the weaker sort may wish godj- Marcius home again.— Coriol., iv. 6. 
 Yet gives he not till judgment guide his bounty. 
 Nor dignifies an impair t thought with breath. — Tr. &• Cr., iv. 5. 
 
 That I some lady trifles have reserv'd. — Ant. &• C, v. 2. 
 
 Such neighbour nearness to our sacred blood. — R. II., i. i. 
 
 Rumour'd through the peasant towns between. — 2 H. IV. {Indue.) 
 
 Oh, what a rogue and peasant slave am I ! — Hamlet, ii. 2. 
 
 'Twas this flesh begot those pelican daughters. — Lear, iii. 4. 
 
 Think this pilot thought ; so with his steerage.— P«r., iv. 4 (Gower). 
 
 I should have fatted all the region kites. — Hamlet, ii. 2. 
 
 Look on me with your welkin eye. — W. T., i. 2. 
 
 'Tis wonder, that thy life and wits at once. — Lear, iv. 7. 
 
 'Tis wonder, that an invisible instinct should. — Cytn., iv. 2. 
 
 * "Silence" has been altered by Hanmer and others to 'sconce'; but "silence 
 me" appears to us to be here used by Shakespeare to express 'silently station 
 myself.' 
 
 f In both these passages, it appears to us, that " god '' is put into the mouth of a 
 speaker who uses it as a scoffing epithet, implying that the person thus alluded to is 
 deified by his admirers. In the passage from " Troilus and Cressida," both Folio 
 and Quartos have the word " god," though some editors have changed it to ' good ' ; 
 in the passage from " Coriolanus " the Folio prints ' good,' though it seems evident 
 that the author intended " god," from this epithet having been similarly used in 
 " Troilus and Cressida," from the circumstance of Cominius saying soon after, " He is 
 their god," and from the expression subsequently employed by Coriolanus himself, 
 " Nay, godded me, indeed." 
 
 t For our explanation of " impair," See Varied Meanings combined in One 
 Word, &c. 
 
PARTS OF SPEECH DIVERSELY USED. 493 
 
 In this latter expression, "wonder" may either be used adjectively, 
 to signify ' wonderful ' ; or it may be used elliptically, to imply ' a 
 wonder,' or ' matter for wonder.' 
 
 In the following passage, Shakespeare uses a noun adverbially : — 
 
 But he 's vengeance proud, and loves not the. — CorioL, ii. 2. 
 
 In the two following passages, Shakespeare uses a noun as a term 
 of address : — 
 
 Well said, Adversity ! and what need these tricks ? — Tr. &• Cr., v. i. 
 
 And you, enchantment — worthy enough a herdsman. — W. T., iv. 3. 
 
 In the following passage, Shakespeare uses a noun framed from a 
 
 compound salutation : — 
 
 Greater than both, by the all-hail hereafter ! — Macb., i. 5. 
 
 And, in the following, a noun framed from a compound verb : — 
 
 The let-alone lies not in your good will. — Lear, v. 3. 
 
 And, in the following, a noun framed from a defective verb : — 
 
 Mark you his absolute " s/wH " .' . . . with his peremptory " s/mW," being but the 
 horn and noise . . who puts his " s/jaZZ," his popular "s/mH" against. — Coriol.,iu. 1. 
 
 And, in the following, a noun framed from other verbs : — 
 
 O, that " had 1 " how sad a passage 'tis ! — All's W., i. i. 
 
 For this "would" changes, and hath abatements and delays . . . and then this 
 " should" is like a spendthrift sigh, that hurts by easing. — Hamlet, iv. 7. 
 
 He sometimes uses participles framed from nouns: — 
 Therefore my son i' the ooze is bedded. — Temp., iii. 3. 
 Your bedded hair, like life in excrements. — Hamlet, iii. 4. 
 Supple and courteous to tl»e people, bonneted, without. — Coriol, ii. 2. 
 That hath so cowarded and chas'd your blood out. — H. V., ii. 2. 
 Or worth, in thee make thy words faith' d. — -Lear, ii. i. 
 Being so/ather'd and so husbanded ? — Jul. C, ii. i. 
 For he is footed in this land already. — H. V., ii. 4. 
 There is part of a power 3.\Tta.&y footed.—Lear, iii. 3. 
 Swithold/oo^^d thrice the old. — Ibid. iii. 4 (Song). 
 The traitors \s.te footed in the kingdom ? — Ibid., iii. 7. 
 Were they not forc'd with those that should be ours. — Macb., v. 5. 
 Julius Cassar, who at Philippi the good 'BimX.ms ghosted. — Ant. &• C, ii. 6. 
 Above the measure of a father ; nay, godded me, indeed. — Coriol., v. 3. 
 Are you so gospelVd, to pray for this good man. — Macb., iii. i. 
 Kingdom'd* Achilles in commotion rages. — Tr. &• Cr., ii. i. 
 A hand that kings have lifp'd, and trembled kissing. — Ant. &• C, ii. 5. 
 One minded like the weather, most unquietly. — Lear, iii. i. 
 And with him there lie mudded. — Temp., iii. 3. 
 I, wish myself were mudded in that oozy bed. — Ibid., v. i. 
 
 * We take "kingdom'd " to signify ' dominated by his turbulent inward condition or 
 " state of man " ' ; since we think the following lines serve to illustrate Shakespeare's 
 use of " kingdom'd " here: — 
 
 " And the state of man. 
 Like to a little kingdom, suffers then 
 The nature of an insurrection." — yul. C, ii. i. 
 
496 THE SHAKESPEARE KEY: 
 
 'Tis a sufferance /ang-rng- as soul and body's severing. — H. VIII., ii. 3. 
 'Twas Ariadne, passioning for Theseus' perjury. — Tw. G. of V., iv. 4. 
 So am I purposed. — Lear, ii. 4. 
 
 My throat of war be turn'd, which quired with my drum. — CorioL, iii. 2. 
 Still quiring to the young-ey'd cherubins. — Mer. of V., v. i. 
 These roguing thieves serve the great pirate. — Per., iv. 2. 
 And made a cistern for scal'd snakes ! — Ant. & C, ii. 5. 
 
 But you have found, scaling his present bearing with his past, that he 's your fixed 
 enemy . —Coriol., ii. 3. 
 
 The scarfed bark puts from her native bay. — Mer. of V., ii. 5. 
 
 My sea-gown scarf 'd about me. — Hamlet, v. 2. 
 
 He smote the sledded Polack on the ice. — Ibid., i. i. 
 
 The hearts that spanieVd me at heels. — Ant. &■ C, iv. 10. 
 
 I am sprighted with a fool ; frighted and angered. — Cym., ii. 3. 
 
 My third comfort, starr'd most unluckily. — W. T., iii. 2. 
 
 iW-starr'd wench ! pale as thy smock. — 0th., v. 2. 
 
 By the forge that stithied Mars his helm. — Tr. &• Cr., iv. 5. 
 
 Who stock'd my servant ? — Lear, ii. 4. 
 
 And stock'd, punished, and imprisoned. — Ibid., iii. 4. 
 
 And person of my master, stocking his messenger. — Ibid., ii: 2. 
 
 Of love or bounty, you were straited for a reply. — W. T., iv. 3. 
 
 Though the catalogue of his endowments had been tabled by his side. — Cym., i. 5. 
 
 And bring thee cords made like a tackled stair. — R. &• yuL, ii. 4. 
 
 1 thank you, you have testerned me. — Tw. G. of V., i. i. 
 Still virginalling upon his palm ? — W. T., i. 2. 
 
 Horns whelk' d and wav'd like the enridged sea. — Lear, iv. 6. 
 Your loop'd and window'd raggedness. — Ibid., iii. 4. 
 Wouldst thou be window'd in great Rome. — Ant, &• C, iv. 12. 
 Nor my wish, to have him see me woman'd. — 0th., iii. 4. 
 So rare a wonder' d father and a wife. — Temp., iv. i. 
 
 In the following passages, he uses a participle substantively : — ■ 
 Since my becomings kill me, when they do not. — Ant. &• C, i. 3. 
 And all my powers do their bestowing lose. — Tr. &• Cr., iii. 2. 
 Would, to the bleeding and the grim alarm, excite. — Macb., v. 2. 
 The chronicles of my doing. — H. VIII., i. 2. 
 These couchings and these lowly courtesies. — yul. C, iii. i. 
 Joy's soul lies in the doing. — Tr. &■ Cr., i. 2. 
 
 Your having in beard is a younger brother's revenue.. — As You L., iii. 2. 
 Our content is our best having. — H. VIII., ii. 3. 
 But par'd my present havings, to bestow. — Ibid., iii. 2. 
 Whose rarest havings made the blossoms dote. — Lover's Comp., Stanza 34. 
 She had all the royal makings of a queen. — H. VIII., iv. i. 
 
 And he employs thus several participles that are more frequentlv 
 used in this manner; such as "baking," "beginning," "painting," 
 " reading," " understanding," " wedding," " wooing," " writing," &c. 
 In the following he uses a conjunction substantively : — 
 And many such like as's of great charge. — Hamlet, v. 2. 
 
 You may avoid that too, with an "j/" . . . your "if" is the only peace-maker ; 
 much virtue in "if,"^As You L., v. 4. 
 
 Talk'st thou to me of "//i" .■' — R. III., iii. 4. 
 
PARTS OF SPEECH DIVERSELY USED. 497 
 
 In the following, he uses interjections substantively : — 
 She did, mth an " alas," I would fain say, bleed tears. — W. T., v. 2. 
 Their loud applause and aves vehement. — M. for M., i. i. 
 Crier Hobgoblin, make the fairy o-yes. — Merry W., v. 5. 
 Fame with her loudest o-yes cries. — Tr. &• Cr., iv. 5. 
 His daughter's woe and heavy well-a-day. — Per., iv. 4 (Gower). 
 
 In the following he uses substantively a word which is both an 
 adjective and an adverb : — 
 
 From th' extremest upward of thy head, to the. — Lear, v. 3. 
 
 In the following passages he uses an adverb as a noun : — 
 
 In russet ^'«as, and honest kersey noes. — Love's L. L., v. 2. 
 
 That " only " came well in. — Tarn, of S., ii. i. 
 
 Dies in his own too-much. — Hamlet, iv. 7. 
 
 A lady's verily is as potent as a lord's ... by your dread verily, one of them you 
 shall be.— W. T., i. 2. 
 
 They say every why hath a wherefore. — Com. of E., ii. 2. 
 
 How if your husband start some other where. — Ibid., ii. i. 
 
 I know his eye doth homage some other where. — Ibid., ii. i. 
 
 This is not Romeo, he 's some other where. — R. &• Jul., i. i. 
 
 Thou losest here, a better where to find. — Lear, i. i. 
 
 In the following he uses an adverb adjectively : — 
 
 Are as interpreters of my behind-hand slackness. — W. T., v. i. 
 
 So, my state, seldom, but sumptuous, showed like a feast. — i H. IV., iii. 2. 
 
 Blunting the fine point of seldom pleasure. — Sonnet 52. 
 
 Ere twice the sun hath made his journal greeting 
 
 To th' under generation, you shall find. — M. for M., iv. 3. 
 
 With the spleen of all the imder fiends.' — Coriol., iv. 5. 
 
 Approach, thou beacon to this under globe. — Lear, ii. 2. 
 
 Lo, in the orient when the gracious light 
 
 Lifts up his burning head, each under eye 
 
 Doth homage to his new-appearing sight. — Sonnet 7. 
 
 In the following he makes a petulant speaker use an adjective as a 
 verb and as a noun \_See Coined Words] : — 
 
 Thank me no thankings, not proud me no prouds. — R. &• Jul., iii. 5. 
 
 He occasionally uses even short phrases substantively: — 
 
 The hardest voice of her behaviour, to be Englished rightly, is, "/ am Sir John 
 Falstaff's."— Merry W., i. 3. 
 
 Here's too much " out upon thee ! " — Com. of E., iii. i. 
 
 Indeed, your " Lord, sir!" is very sequent to your whipping. — All's W., ii. 2. 
 
 This " once again," but that your highness pleas'd, was once superfluous. — John, iv. 2. 
 
 Better at home, if" would I might " were "may." — Tr. &• Cr., i. i. 
 
 Letting " / dare not" wait upon "I would." — Macb., i. 7. 
 
 And with an absolute, " Sir, not I," the cloudy messenger. — Ibid., iii. 6. 
 " But yet " is as a gaoler to bring forth 
 Some monstrous malefactor. — Ant. &• C, ii. 5. 
 
 He sometimes uses verbs substantively : — 
 Without the sensible and true avouch of mine.— Hamlet, i. i. 
 Sextus Pompeius hath given the dare to Caesar. — Ant. &• C, i. 3. 
 
 • " The under fiends " is equivalent to ' the fiends below,' ' the fiends of the lower 
 regions.' 
 
 2 K 
 
498 THE SHAKESPEARE KEY. 
 
 I true ! how now ! what wicked deem is this ? — Tr. &■ Cr., iv. 4. 
 
 For the/m7 of any point in 't shall not only be. — W. T., ii. 3. 
 
 By his highness' /m7 of issue.^/iid., v. i. 
 
 How grounded he his title to the crown upon out fail ? — H. VIII., i. 2. 
 
 The danger which my realms stood in by this my issue's/nz7. — Ibid., ii. 4. 
 
 Shall be false and perjur'd, from thy great /aj7. — Cym., iii. 4. 
 
 Troy ; within whose strong immures the. — Tr. &• Cr. (Prologue). 
 
 According to your ladyship's impose, I am. — Two G. of V., iv. 3. 
 
 Our fortune lies upon Ihis jump. — Ant. &• C, iii. 8. 
 
 Bear the guilt of our great quell. — Macb., i. 7. 
 
 And send forth us, to make our sorrow'd render. — Timon, v. 2. 
 
 May drive us to a render where we have liv'd. — Cym., iv. 4. 
 
 Take no stricter render of me than my all. — Ibid., v. 4. 
 
 The solve is this — that thou dost common grow. — Sonnet 6g. 
 
 That we come short of our suppose thus far. — Tr. &• Cr., i. 3. 
 
 While counterfeit supposes blear'd thine eyne.^Tam. of S., v. i. 
 
 There has been much to do on both sides. — Hamlet, ii. 2. 
 
 What 's sweet to do, to do will aptly find. — Lover's Comp., Stanza 13. 
 
 With every gale and vary of their masters. — Lear, ii. 2. 
 
 That, on the view and know of these contents. — Hamlet, v. 2. 
 
 Will I not, Pompey ; it is not the wear. — M.for M., iii. 2. 
 
 Motley's the only wear. — As You L., ii. 7. 
 
 Of the new'st and fin'st, fin'st wear-a.} — W. T., iv. 3 (Song). 
 
 In the following passage he uses a verb as a noun-adjective : — 
 And be a thwart disnatur'd torment to her I — Lear, i. 4. 
 
 Sometimes he uses verbs framed from adjectives : — 
 None does offend, none — I say, none ; I '11 able 'em. — Ibid., iv. 6. 
 And it shall go hard but I will better the instruction. — Mer. of V., iii. i. 
 Each day still better other's happiness ; until. — ii. //., i. i. 
 Not unlike, each way, to better yours. — Coriol., iii. i. 
 If that ever my low fortunes better, I '11 pay. — Per., ii. i. 
 Since they do better thee in their command. — Ibid., iv. 6. 
 What you do still betters what is done. — W. T., iv. 3. 
 
 It toucheth us, as France invades our land, 
 Not bolds the king, with others, whom, I fear. — Lear, v. i. 
 Deep clerks she dumbs ; and with her neeld. — Per., v. [Gower). 
 Madam, the care I have had to even your content. — All's W., i. 3. 
 To make him even o'er the time he has lost. — Lear, iv. 7. 
 
 There 's more to be consider'd ; but we '11 even 
 All that good time will give us.* — Cym., iii. 4. 
 It faints me, to think what follows. — H. VIII., ii. 3. 
 
 * It is to be noted that in each of these three passages Shakespeare uses the word 
 " even " with largely inclusive effect. In the first, " to even your content " includes 
 the combined significations of ' to keep pace with your wishes,' ' to act conformably 
 with your wishes,' ' to make the accomplishment of your desires easy ' ; in the second, 
 the phrase implies ' to make him pass in review the interval that has elapsed, and 
 endeavour to render its events smooth and easy of comprehension to himself ; and in 
 the third, the phrase comprises the multiplied effect of ' we will make our attempts keep 
 pace with the time allowed us for endeavour,' ' we will accomplish all that time will give 
 us leave to try for,' ' we will meet smoothly and with even temper all that time brings,' 
 and ' we will accept thankfully all that good time grants.' See Varied Meanings 
 COMBINED IN One Word OR SENTENCE, in justification of our ascribing these largely 
 inclusive significations to Shakespeare's words. 
 
PASSAGES OF INCOMPLETE EXPLANATION. 499 
 
 And makes Diana's rangers /nisu themselves. — Cym., ii. 3. 
 
 And I, poor monster, /o«d as much on him. — Tw. N., ii. 2. 
 
 And god-like reason to fust in us unus'd. — Hamlet, iv. 4. 
 
 This day shall gentle his condition. — H. V., iv. 3. 
 
 That which most with you should safe my going. — Ant. &> C, i. 3. 
 
 How poor Andromache shrills her dolours forth ! — Tr. &• Cr., v. 3. 
 
 And violcntcth in a sense as strong. — Ibid., iv. 4. 
 
 In the following passage he frames a verb from a word used both as 
 a noun and as an adjective : — 
 Which we will niggard with a little rest. — ytil. C, iv. 3. 
 
 In the following he uses a verb humorously framed from a pronoun : — 
 If thou thou'st him some thrice, it shall. — Tw. N., iii. 2. 
 And, in the following, verbs humorously framed from nouns : — 
 
 A French song and a fiddle has no fellow. — 
 The i&ml fiddle 'em !— H. VIII., i. 3. 
 You are grand-jurors, are ye ? we 'Wjure ye, i' faith. — i H. IV., ii. 2. 
 
 He sometimes uses participles framed from adjectives : — 
 He hath, indeed, better bettered expectation. — M. Ado, i. i. 
 Which, bettered with his own learning. — Mer. of V., iv. i (Letter). 
 Which I have better'd rather than decreas'd. — Tarn, of S., ii. i. 
 But since he is better'd, we have therefore odds. — Hamlet, v. 2. 
 And the bettering of my mind with that. — Temp., i. 2. 
 Bettering thy loss makes the bad-causer worse. — R. III., iv. 4. 
 Nay, if he coy'd to hear Cominius speak. — CorioL, v. i. 
 Shall acquire no honour demuring upon me. — Ant. &• C, iv. 12. 
 Till I am even'd with him, wife for wife. — Oth., ii. i. 
 Spoke was beastly dumb'd by him. — Ibid., i. 5. 
 Fairing the foul with art's false borrow'd face. — Sonnet 127. 
 Nay, not sure, in a thingfalsing. — Com. of E., ii. 2. 
 Best you saf'd the bringer out of the host. — Ant. &• C, iv. 6. 
 I would I knew not why it should be slow'd. — R. &• ful., iv. i. 
 All his visage wann'd: tears in his eyes. — Hamlet, ii. 2. 
 
 In the following passages he uses participles humorously framed 
 from nouns [_See Coined Words] : — 
 
 Aufidius got off ... I would not have been so fidiused for all the chests in Corioli. 
 — CorioL, ii. i. 
 To see how the sea. flaf-dragoned it. — W. T., iii. 3. 
 He hath ont-villained villainy so far, that the rarity. — AWs W., iv. 3. 
 And in the following he uses a proper name humorously as a verb: — 
 Come, Mother Pratt ; come, give me your hand. — 
 I '11 "prat " her. — Merry W., iv. 2. 
 
 PASSAGES OF INCOMPLETE EXPLANATION. 
 
 Shakespeare has some passages, where much is dramaticallj' 
 inferred in very few words ; thus sparing needless diffuseness and 
 prolixity in detailing circumstances already known to the perusers or 
 spectators of the play. These passages generally occur in the 
 closing scenes, where the plot is wound up, and the characters come 
 
 2 K 2 
 
500 THE SHAKESPEARE KEY. 
 
 to a mutual understanding ; therefore much is taken for granted, or 
 left for supposed subsequent explanation among themselves, in order 
 to- avoid recapitulation before the audience. Some of his commen- 
 tators, not perceiving this intentional succinctness on the part of the 
 dramatist, have accused him of oversight, omission, forgetfulness, 
 inexplicitness, &c., &c. ; but we think that the following collected 
 instances will serve to show that, fa' from denoting any of these 
 alleged defects, they evince systematic art with care and skill in 
 dramatic provision. He will often throw in an apparently trivial 
 phrase, which really serves to indicate a point that it is requisite should 
 be conveyed and known ; yet doing this so slightly, that it demands 
 attention on the part of those who read or see the play : and thus it 
 comes, that so frequently when fault is found with Shakespeare's com- 
 position, it is the carelessness of the observer, and not the carelessness of 
 the writer, which deserves blame. The two first passages we shall cite 
 afford instances of the slight by-touches he occasionally introduces, to 
 convey a circumstance needful to be noted, yet not demanding lengthy 
 explanation : — 
 
 There is no better way than that they spoke of. — Merry W., iv. 4. 
 
 Here allusion is made to the proposal already made by Mistress Ford 
 and Mistress Page, supposed to have been " spoken of" before entering 
 on the scene, and which their husbands proceed to discuss. 
 
 But, they say, the duke will be here to-morrow, — M.for M., iv. 3. 
 
 By the words " they say," put into Lucio's mouth here, the fact is 
 indicated that the duke's return is now generally reported. 
 
 My wife, more careful for the latter-born. 
 
 Had fasten'd him unto a small spare mast. . . . 
 
 My youngest boy, and yet my eldest care, 
 
 At eighteen years became inquisitive 
 
 After his brother. — Com of E., i. i. 
 
 Here, in order perhaps to convey the effect of the confusion of the 
 wreck, the description is given somewhat confusedly ; so that the par- 
 ticulars of the mother's having fastened the " latter-born" to the mast, 
 while she herself became fastened to the other end where her elder twin 
 son was secured, thus leaving the " youngest boy " under the charge 
 of her husband, must be well borne in mind, so that the present details 
 may tally with the fact of ^Emilia's having reached Ephesus with the 
 elder Antipholus, and iEgeon's having had the _yo?<H^er Antipholus with 
 him at Syracuse. 
 
 Are you a suitor to the maid you talk of? — Tarn, of S., i. 2. 
 Here reference is made to a subject as if it had been named ; while, 
 in fact, it has only been implied. But though there has been no actual 
 mention of Bianca among the speakers, it is well understood that she is 
 meant by them. 
 
 Petruchio is my name ; Antonio's son, 
 
 A man well known throughout all Italy. — 
 
 I know him well ; you are welcome for his sake. — 
 
 Saving your talc, Petruchio, I pray. 
 
 Let us, that are poor petitioners, speak too. — Ibid., ii. i. 
 
 By this expedient of Gremio's interruption, the needless repetition of 
 Petruchio's stating his father's death to Baptista is saved. 
 
PASSAGES OF INCOMPLETE EXPLANATION. 501 
 
 Lucentio is your name — of whence, I pray ? — Tarn, of S., ii. i. 
 
 Here the dramatist allows the disguised Tranio's assumed name of 
 Lucentio to be supposed to have become known to the speaker ; 
 possibly by its having been marked upon the lute, or inscribed in the 
 volumes presented to Baptista. 
 
 Had you not lately an intent ... to go to Paris ? — All's W., i. 3. 
 
 Although there has been no express mention of Helena's " intent " 
 having become known to the Countess, the dramatist here allows the 
 point to be inferred. 
 
 Methought you said you saw one here in court could witness it. — / did, my lord, but 
 loath am to produce so bad an instrument: his name's Parolles. — Ibid., v. 3. 
 
 Notwithstanding that there has been no actual speech made by 
 Diana to this effect, yet, knowing that the audience are already aware 
 of the point, and that it is needful to introduce Parolles, the dramatist 
 permits her having adverted to some one who could " witness " for her 
 to be taken for granted : — 
 
 That I am Viola : which to confirm, 
 
 I '11 bring you to a captain in this town, 
 
 Where lie my maiden weeds ; by whose gentle help 
 
 I was preserv'd, to serve this noble count. . . . 
 
 The captain that did bring me first on shore 
 
 Hath my maid's garments ; he, upon some action, 
 
 Is now in durance ; at Malvolio's suit. . . . 
 
 Pursue him, and entreat him to a peace : 
 
 He hath not told us of the captain yet.-^rz». N., v. i. 
 
 By the above slight indications, the dramatist sketches events already 
 known to the audience ; not only avoiding their recapitulation, but also 
 leaving undetailed the needless particulars of " Malvolio's suit " against 
 the sea-captain. 
 
 Thou wouldst have poison'd good Camillo's honour. 
 
 To have him kill a king. — W. T., iii. 3. 
 
 Although Leontes' confession of his misdeed took place during 
 Paulina's absence from the scene, our dramatist permits her to make 
 the above speech as if aware of the self-accusation, since it has become 
 known to the audience. 
 
 Teeth hadst thou in thy head when thou wast born. 
 
 To signify, thou cam'st to bite the world : 
 
 And, if the rest be true which I have heard. 
 
 Thou cam'st — 
 
 I 'U hear no more : die, prophet in thy speech ; 
 
 For this, among the rest, was I ordain'd . . . 
 
 Indeed, 'tis true, that Henry told me of; 
 
 For I have often heard my mother say, &c. — 3 H. '/I., v. 6. 
 
 Shakespeare purposely allows King Henry's speech to be broken off 
 in the midst of his scoffing at the preposterous circumstances attending 
 Richard's birth, while allowing Richard to allude to them as having 
 been "told"; because they are not only recounted immediately after 
 by Richard himself, but were well known and popularly believed. 
 
 The noble Brutus hath told you Cassar was ambitious. — yul. C, iii. 2. 
 
 The dramatist here causes it to be inferred that Antony has heard 
 of Brutus's having told the people this. 
 
502 THE SHAKESPEARE KEY. 
 
 I must to England ; you know that ? — Hamlet, iii. 4. 
 
 Although there has been no express mention that Hamlet obtains 
 this information previously to his here announcing it to his mother, j-et 
 King Claudius having twice mentioned his determination of despatching 
 the prince to England, first to Polonius, and then to Rosencrantz and 
 Guildenstern, it may be gathered that such a court decree has reached 
 Hamlet's ears ; besides that his own words immediately after, " there 's 
 letters sealed," imply that the decree has been officially announced to 
 him. His subsequently choosing to express surprise when the king 
 tells him he is to set out for England immediately, is but in consonance 
 with his assumed flightiness of manner when speaking to his " uncle- 
 father." 
 
 What ! Ji/ty of my followers, at a clap I 
 
 Within a fortnight ! — Lear, i. 4. 
 
 This disjointed exclamation of the frantic old king suffices to indicate 
 the fact that Goneril has suddenly dismissed half his train of knights 
 within two short weeks of the time when he gave to her and Regan his 
 kingdom. 
 
 To seek him on the mountains near to Milford ; 
 
 Where, in a frenzy, in my master's garments, 
 
 Which he enforc'd from me, away he posts 
 
 With unchaste purpose, and with oath to violate 
 
 My lady's honour. — Cym., v. 5. 
 
 It is true that Cloten mentioned nothing to Pisanio of his " unchaste 
 purpose" in the dialogue held between them (act iii., sc. 5); but the 
 dramatist leaves to be inferred that Pisanio is aware of it, inasmuch 
 as he causes Cloten to say to Pisanio, when the latter returns with 
 Posthumus's clothes, " The third is, that thou wilt be a voluntary mute 
 to my design," which conveys the effect that Pisanio is informed, or is 
 to be informed, of what this " design " is. 
 
 Sit, sir, / will recount it to you : 
 But see, / am prevented. — Per., v. i. 
 
 The audience, knowing already the circumstances, are spared by this 
 dramatic expedient, the needless repetition of " the cause " of Pericles' 
 " sorrow." 
 
 You shall prevail. 
 Were it to woo my daughter ; for it seems 
 You have been noble towards her. — Ibid., v. 2. 
 
 Although there has been nothing stated concerning Lysimachus 
 having behaved nobly towards Marina, yet, since the readers or 
 spectators of the play know this to be the case, the dramatist allows it 
 to be thus referred to as a circumstance known to her father. 
 
 PASSAGES OF POETICAL LICENCE IN ANTICIPATION. 
 
 With the true imaginative force of a great poet, Shakespeare has 
 some passages which deal with that which is to be as if it were already 
 past, and treat as something done that which is still unperformed. \_See 
 
PASSAGES OF SINGLE WORDS. 503 
 
 Paradoxical Phraseology.] Of this kind is John Keats's startlingly 
 bold expression, in the twenty-seventh stanza of his " Isabella " : — 
 
 " So the two brothers and their murder'd man 
 Rode past fair Florence." 
 
 It is such audacities of imaginative writing as these which fill poetical 
 appreciators with transport, and which utterly dismay wretched con- 
 ventionalists like Mr. Steevens, who stigmatises the passage we shall 
 here below cite from "Romeo and Juliet" as being among "those 
 miserable conceits with which our author too frequently counteracts his 
 own pathos." The fact of writing such a comment as that upon such 
 a passage as the one in question, strikes us as proving "miserable 
 conceit" in the commentator himself, who conceives himself capable 
 of passing judgment on a poetical idea of which he is incapable of 
 perceiving the profound beauty and pathos. The intensity of emotional 
 feeling — which regards as elapsed and irretrievable that which is 
 dreaded and impending, 'or, as triumphantly effected that which is 
 eagerly desired — was thoroughly comprehended and expressed by 
 Shakespeare ; and the following passages bear witness to this : — 
 
 Pr'ythee, bring me 
 
 To the dead bodies of my queen and son : 
 
 One grave shall be for both , . . once a day I'll visit 
 
 The chapel where they lie. — W. T., iii. 2. 
 
 Great king, within this coffin I present 
 
 Thy buried fear. — J?. //., v. 6. 
 
 Here shall they make their ransom on the sand, 
 
 Or with their blood stain this discoloitr'd shore. — 2 H. VI., iv. i. 
 Upon them ! Victory sits on our helms. — R. III., v. 3. 
 Death, lie thou there, by a dead man interrd. — R. &> Jul., v. 3. 
 And fortune, on his damned quarry smiling. — Macb., i. 2. 
 
 The above expression — judging by the sense in which Shakespeare/ 
 uses the word " quarry" elsewhere [See Peculiar Use of Words] — 
 appears to us to signify ' Macdonwald'sherd of fellows doomed to become 
 a heap of slaughtered creatures ' — already considered as a ' heap of 
 carrion.' 
 
 / am dead, Horatio . . . Horatio, / am dead. — Hamlet, v. 2. 
 
 And more, much more ; the time will bring it out ; 
 'Tis past, and so am I. — Lear, v. 3. 
 
 My friend is dead ; 'tis done at your request, — Oih., iii. 3. 
 
 Minion, your dear lies dead. — Ibid., v. i. 
 
 PASSAGES OF SINGLE WORDS. 
 
 Among the numerous varieties in Shakespeare's style, is that of 
 occasional passages where a series of single words succeed each 
 other : — 
 
 So minutes, hours, days, months, and years, 
 
 Pass'd over to the end they were created. — 3 H. VI., ii. 5. 
 
 Observe degree, priority, and place, 
 
 Insisture, course, proportion, season, form. 
 
 Office, and custom, in all line of order. — Tr. &• Cr., i. 3. 
 
504 THE SHAKESPEARE KEY. 
 
 The trumpets, sackbuts, psalteries, and fifes. 
 Tabors, and cymbals, and the shouting Romans. — Coriol., v. 4. 
 Day, night, hour, tide, time, work, play. 
 Alone, in company, still my care hath been 
 To have her matched. — R. &• Jul., iii. 5. 
 Accurs'd, unhappy, wretched, hateful day! — Ibid., iv. 5. 
 
 The ear, 
 Taste, touch, smell, pleas'd from thy table rise. — Timon, i. 2. 
 Are all thy conquests, glories, triumphs, spoils. 
 Shrunk to this little measure ? — Jul. C, iii. i. 
 Who can be wise, amaz'd, temperate, and furious, 
 Loyal and neutral, in a moment .' — Macb., ii. 3. 
 Hoo ! hearts, tongues, figures, scribes, bards, poets, cannot 
 Think, speak, cast, write, sing, number, hool — Ant. &• C, iii. 2. 
 
 And, in the following passage, he gives us a succession of proper 
 names, poetically collected, such as Milton delighted in and gave so 
 felicitously : — 
 
 He hath assembled 
 
 Bocchus, the king of Lybia; Archelaus, 
 
 Of Cappadocia ; Philadelphos, king 
 
 Of Paphlagonia ; the Thracian king, Adallas; 
 
 King Malchus of Arabia ; king of Pont ; 
 
 Herod of Jewry ; Mithridates. king 
 
 Of Comagene ; Polemon and Amintas, 
 
 The kings of Mede and Lycaonia, 
 
 With a more larger list of sceptres. — Ibid., iii. 6. 
 
 PASSAGES WHERE AN ORIGINAL WORD IS 
 
 INTRODUCED INTO A USUAL FORM OF PHRASE. 
 
 Shakespeare occasionally so employs a word of his own introduction 
 into a usual form of phrase as to give peculiar or duplicate effect to the 
 sentence; and this mode of his, not having been duly observed by com- 
 mentators and editors, has led them into the belief of error and mis- 
 print existing where there is, on the contrary, originality and power of 
 diction : — 
 
 Whose shadow the dismissed bachelor loves, 
 
 Being lass-loin. — Temp., iv. i. 
 
 By using "lass" in combination with "lorn," instead of the ordinary 
 expression ' love-loin,' our poet is able to have the word " loves " in 
 the preceding line. 
 
 He went but forth to wash him in the Hellespont, and, being taken with the cramp, 
 
 was drowned ; and the foolish chroniclers of that age found it was — Hero of Sestos. 
 
 As You L., iv. I. 
 
 Hanmer and others altered "chroniclers" to 'coroners': but by 
 using the word "found" in the sentence, Shakespeare imparts the 
 effect of 'coroners' to "chroniclers," while allowing it to stand for 
 ' historians.' 
 
 Pacing through the forest. 
 Chewing the food of sweet and bitter fancy. — Ibid., iv. 3. 
 
 It has been supposed that " food " is a misprint for ' cud ' ; but by 
 the employment of "chewing" in the phrase, our dramatist imparts 
 
PASSAGES WHERE AN ORIGINAL WORD, &c. 505 
 
 the effect of ' cud ' to the word " food," which he frequently uses else- 
 where in connection with "fancy," or "love." 
 
 Then go thou forth ; 
 And Fortune flay upon thy prosperous helm. 
 As thy auspicious mistress! — All's W., iii. 3. 
 
 By the felicitous introduction of the word " play " into this sentence, 
 the poet gives the duplicate effect of ' shine ' (as the sunbeams play 
 upon an object) and ' smile ' (as a lady looks favouringly on her chosen 
 lover) to the expression here used. 
 
 By my troth, sir, if I were to live this present hour, I will tell true. — Ibid., iv. 3. 
 
 The word " live" has been suspected of error in the above passage ; 
 but by introducing it instead of the more generally used word ' die ' 
 in this ghrase, Shakespeare has given the inclusive effect to ParoUes' 
 speech of ' if I were to die this present hour or allowed to live through it.' 
 
 Our fancies are more giddy and unfirm. 
 More longing, wavering, sooner lost and worn. 
 Than women's are. — Tw. N., ii. 4, 
 
 Johnson, and some editors since, would change "worn" to 'won' 
 in this passage; but Shakespeare, by introducing the word "worn," 
 in connection with "lost," not only conveys the impression of the 
 ordinarily employed 'won,' but also allows it to imply 'worn out,' 
 ' worn away.' 
 
 Indeed, brother-in-law was the farthest off you could have been to him ; and then 
 your blood had been the dearer, by I know how much an ounce. — 
 Very wisely, puppies. — W. T., iv. 3. 
 
 Hanmer and others opine that ' not ' ought to be placed between 
 " know " and " how," in the above passage ; but by omitting the ' not ' 
 in a phrase where it is ordinarily used, our dramatist, besides giving 
 the effect of characteristically blundering phraseology to the rustic 
 speaker, also affords an opportunity for Autolycus's sly rejoinder to 
 come with appropriateness. 
 
 Ye shall have a hempen caudle, then, and the help of hatchet. — 2 H. VI., iv. 7. 
 
 Because there is an old slang term, ' pap with a hatchet,' Farmer 
 proposed to change Shakespeare's expression here to the better known 
 one. But by using a slight variation from it, the dramatist not only 
 recalls the popular phrase, but adds the effect of similar ones which he 
 uses elsewhere : as, " Wisdom's warrant and the help of school " 
 (" Love's Labour's Lost," v. 2) ; " Witches and the help of hell " ("First 
 Part of King Henry VL," ii. i) ; and " A man that were to sleep your 
 sleep, and a hangman to help him to bed " (" Cymbeline," v. 4). 
 
 I have, thou gallant Trojan, seen thee oft. 
 
 Labouring for destiny, make cruel way 
 
 Through ranks of Greekish youth ; and I have seen thee, 
 
 As hot as Perseus, spur thy Phrygian steed, 
 
 Despising many forfeits and subduements, 
 
 When thou hast hung thy advanced sword i' the air, 
 
 Not letting it decline on the declin'd, 
 
 That I have said to some my standers-by, 
 
 " Lo, Jupiter is yonder, dealing life ! " — Tr. &• Cr., iv. 5. 
 
So6 THE SHAKESPEARE KEY. 
 
 By using the word " life " here in an expression where ' death ' is 
 more generally employed, the dramatist conveys the idea of Hector's 
 hewing his way through his enemies, yet sparing those among them 
 who' are already struck to earth ; thus confirming his brother Troilus's 
 remonstrance to him in act v., sc. 3, where he says, " Brother, you have 
 a vice of mercy in you, which better fits a lion than a man. . . . When 
 many times the captive Grecians fall, even in the fan and wind of your 
 fair sword, you bid them rise, and live." Thus consistently does 
 Shakespeare work. 
 
 For the nobles receive so to heart the banishment of that worthy Coriolanus, that 
 they are in a ripe aptness to take all power from the people. — CorioL, iv. 3. 
 
 By employing the word "receive" instead of the more usual one, 
 'take,' the impression is strengthened in the first clause of the sentence, 
 and better allows the subsequent occurrence of "take " in the second 
 clause. 
 
 If, Tullus, 
 Not yet thou know'st me, and seeing me, dost not 
 Think me for the man I am, necessity- 
 Commands me name myself. — Ibid., iv. 5. 
 
 Pope altered "think" to 'take' here ; but by retaining Shakespeare's 
 own word, we have the forcible and double effect of ' take me for the 
 man I am,' and of ' recognise me in thy thought for the man I am.' 
 This skilful method of introducing unhackneyed words into conven- 
 tional and well-known phrases, forms one of the peculiar merits of 
 Shakespeare's masterly style. 
 
 You shall perceive that a Jack guardant cannot office me from my son Coriolanus. — 
 Ibid., V. 2. 
 
 By using the word " office " instead of the more common expression 
 'keep,' the dramatist gives the effect of ' Jack in office' as an additional 
 taunt to the contemptuous term " Jack guardant." 
 
 Doth not rosemary and Romeo begin both with a letter ? — Ay, nurse ; what of that ? 
 both with an R. — Ah, mocker ! that 's the dog's name ; R is for the dog. No ; I know 
 it begins with some other letter. — R. &• Jul., ii. 4. 
 
 There is an old saying that " R is the dog's letter"; but Shakespeare 
 
 varies the phrase by substituting " name " for ' letter,' partly because 
 
 it imparts an effect of blundering confusion to the nurse's diction, and 
 
 • partly because " name " thus forms the antecedent to " it " in the next 
 
 clause of the sentence. 
 
 I will carry no crotchets : I '11 re you, I '11 fa you ; do you note me ? — Ibid., iv. 5. 
 
 Shakespeare makes Peter vary the formerly well-known phrase, ' I '11 
 not carry coals ' (meaning ' I '11 not put up with insults ') by introduc- 
 ing the word " crotchets," for the sake of having a jocose fling at the 
 musician who is bantering him. 
 
 Is not my lord seen yet? — Not yet. — I wonder on't; he was wont to shine at 
 seven. — Timon, iii. 4. 
 
 By using the word " shine " instead of ' appear ' in this phrase, the 
 idea of Timon's being like the sun is suggested, and well introduces the 
 imagery of the speech that is made in rejoinder. 
 
PECULIAR CONSTRUCTION. 5°! 
 
 I cannot think but your age has forgot me ; 
 It could not else be, I should prove so base, 
 To sue, and be denied such common grace : 
 My wounds ache at you. — Timon, iii. 5. 
 
 By the phraseology here, Shakespeare gives the double effect of ' my 
 wounds blush for your shameless ingratitude ' and ' my wounds ache 
 afresh at your cruel hardness.' 
 Why, jman, they did make love to this employment. — Hamlet, v. 2. 
 
 This variation from the more usual phrase, ' courted this employ- 
 ment,' gives increased force to the accusation of base suing for a base 
 office. 
 
 And we shall talk before we fight. — Most meet that first we come to words. — 
 Ant. &■ C, ii. 6. 
 
 By the introduction of " words " into this form of phrase, Shake- 
 speare neatly infers ' before coming to blows ' as its understood com- 
 pletion. 
 
 And not resting here, accuses him of letters he had formerly wrote to Pompey ; 
 upon his own appeal seizes him. — Ibid., iii. 5. 
 
 The phrase, thus constructed, gives the duplicate effect of ' on his own 
 responsibility,' and 'on his own accusation solely'; since "appeal" 
 is here used in the sense which it bears in common law— that of 
 'accusation.' 
 
 Follow the noise so far as we have quarter ; 
 Let's see hovif it will give off. — Ibid., iv. 3. 
 
 By employing this expression instead of either of the commoner 
 ones, 'give over,' or 'leave off,' the poet imparts an effect of the 
 speakers being unusually impressed by the supernatural sounds they 
 hear. 
 
 PECULIAR CONSTRUCTION. 
 
 Some of Shakespeare's constructional peculiarities in phraseology 
 deserve special notification. He occasionally has phrases of trans- 
 posed or even of involved construction : — ■ 
 
 One of them is a plain [plainly a] fish. — Temp., v. i. 
 
 Yet in this life lie hid more thousand deaths [a thousand more deaths than I have 
 enumerated, or than the one that is life's ending]. — M./or M., iii. i. 
 
 Here is the head ; I '11 carry it myself. — 
 
 Convenient is it [it is convenient that you should do so]. — Ibid., iv. 3. 
 
 And I, with your two helps [the help of you two], will so practise on Benedick. — 
 M. Ado, ii. I. 
 
 I will fetch my gold, and have our two wagers [the wagers of us two] recorded. — 
 Cym., i. 5. 
 
 These, and your three motives [the motives of you three] to the battle, with I know 
 not how much more, should be demanded. — Ibid., v. 5. 
 
 I shall desire you of more acquaintance [more acquaintance of you], good Master 
 Cohweb.— Mid. N. D., iii. i. 
 
 I humbly do desire your grace of pardon [pardon of your grace] ; I must away this 
 night. — Mer. of V., iv. i. 
 
5o8 THE SHAKESPEARE KEY. 
 
 Till that the weary very means [very means, becoming weary] do ebb ? — As You L., ii. 7. 
 If yourself , 
 
 Whose aged honour cites a virtuous youth, 
 
 Did ever, in so true aflame of liking. 
 
 Wish chastely, and love dearly, that your Dian 
 
 Was both herself and love * [if ever you wished chastely and loved dearly in so pure 
 and true a flame as that your Diana was both herself and love itself]. — All's W., i. 3. 
 
 lam commanded here, and kept a coil with [a coil is kept up with me], — "Too 
 young" and "the next year." — Ibid., ii. i. 
 
 The last that e'er I took her leave at court [the last time that ever I took leave of 
 her at court]. — Ibid., v. 3. 
 
 I could not find him at the Elephant : 
 
 Yet there he was [he had been there]. — Tw. N., iv. 3. 
 
 So long I daily vow to use it [vow to use it daily]. — W. T., iii. 2. 
 
 This avouches the shepherd's son [the shepherd's son avouches]. — Ibid., v. 2. 
 
 'A pops me out at least from [from at least] fair five hundred pound a year. — 
 yohn, i. I. 
 
 Why, then, your fears (which, as they say, attend the steps of wrong) should move 
 you [why, then, should your fears move you] to mew up your tender kinsman. — 
 Ibid., iv. 2. 
 
 But my fair name (despite of death, that lives [that, despite of death, lives] upon my 
 grave). — R. II., i. i. 
 
 With rival-hating envy, set on you [set you on] to wake our peace. — Ibid., i. 3. 
 
 Violent fires soon burn out themselves [burn themselves out]. — Ibid., ii. i. 
 
 He hath not money for these Irish wars. 
 
 His burdenous taxes notwithstanding [notwithstanding his burdenous taxations]. — 
 Ibid., ii. I. 
 
 Nor friends, nor foes, to me welcome you are [neither as friends nor as foes are you 
 welcome to me]. — Ibid., ii. 3. 
 
 The worst is worldly loss thou canst unfold [the worst that thou canst unfold is 
 worldly loss]. — Ibid., iii. 2. 
 
 Revolt our subjects ? [Do our subjects revolt ?] — Ibid., iii. 2. 
 
 Mc rather had [I had rather] my heart might feel your love. — Ibid., iii. 3. 
 
 Mounted upon a hot and fiery steed. 
 
 Which his aspiring rider seem'd to know [which seem'd to know his aspiring rider] . — 
 Ibid., V. 2. 
 
 Nor I, nor any man, that but man is [is but man], 
 With nothing shall be pleas'd. — Ibid., v. 5. 
 
 Was he not proclaim'd by Richard, that dead is [is dead], the next of blood? — 
 I H. IV., i. 3. 
 
 Whose wrongs in us God pardon ! [God pardon in us !]. — Ibid., i. 3. 
 
 What a candy deal of [deal of candy] courtesy. — Ibid., i. 3. 
 
 Homo is a common name [name common] to all men. — Ibid., ii. i. 
 
 I know his death will be a march of twelve-score [I know that a march of twelve- 
 score will be the death of him]. — Ibid., ii. 4. 
 
 Make blind itself [itself blind] with foolish tenderness. — Ibid., iii. 2. 
 
 The dauphin, whom of succour we entreated [of whom we entreated succour]. — 
 H. v., iii. 3. 
 
 So that here men are punished, for before-breach of the king's laws, in now the 
 king's quarrel [the king's quarrel now], — Ibid., iv. i. 
 
 But all's not done; yet keep the French the field [the French keep the field]. — 
 Ibid., iv. 6. 
 
 * Besides "love" here meaning 'love itself,' it means "Love," as used for the 
 goddess of love, Venus; since Shakespeare has more than once employed "Love" 
 thus [See Titles]. 
 
PECULIAR CONSTRUCTION. 5°9 
 
 Lives he [does he live], good uncle? — H. V., iv. 6. 
 
 Peace to this meeting, wherefore me are met [peace, for which we are here met, be to 
 this meeting] ! — Ibid., v. 2. 
 
 This Gloster should be-quickly rid the world [the world should be quickly rid of this 
 Gloster].— 2 H. VI., iii. i. 
 
 Men's flesh preserved so whole do seldom win [men, whose flesh is preserved so 
 whole, do seldom win].— /ftj'rf., iii. i. 
 
 Until my mis-shap'd trunk that bears this head [until my head, that this mis-shaped 
 trunk bears] be round impaled with a glorious crown. — 3 H. VI., iii. 2 
 
 I can add colours to the cameleon ; 
 
 Change shapes with Proteus for advantages [advantageously compete with Proteus 
 in changing shapes]. — Ibid., iii. 2. 
 
 And to that end / shortly mind to leave you [I intend soon to leave you]. — Ibid., iv. i. 
 So your dislikes [the dislikes of you], to whom I would be pleasing. 
 Do cloud my joys with danger and with sorrow. — Ibid., iv. i. 
 Thus yields the cedar to the axe's edge [to the axe's edge the cedar]. 
 Whose arms gave shelter to the princely eagle. — Ibid., v. 2. 
 
 Thus doth he force the swords of wicked men 
 
 To turn their own points on their masters' bosoms [their points on their masters' own 
 bosoms]. — R. III., V. i. 
 
 I am sorry my integrity should breed 
 
 {And service to his majesty and you) 
 
 So deep suspicion, where all faith was meant [my integrity and service to his 
 majesty and you should breed]. — H. VIII., iii. i. 
 
 Have been more than could my studied purposes requite [than my studied purposes 
 could requite]. — Ibid., iii. 2. 
 
 You have as little honesty as honour ; 
 
 That, in the way of loyalty and truth 
 
 Toward the king, my ever royal master. 
 
 Dare mate* a sounder man than Surrey can be, 
 
 And all that love his follies [you have as little honesty as honour, who dare impugn 
 a sounder man (on the score of loyalty and truth towards my royal master, the king) 
 than Surrey and all who love his follies can be]. — Ibi-d., iii. 2. 
 
 An ordinary groom is for such payment [such payment is fit only for an ordinary 
 groom]. — Ibid., v. i. 
 
 They would shame to make me wait else at door [else they would shame to make me 
 wait at the door]. — Ibid., v. 2. 
 
 That loves his mistress more than in confession 
 
 With truant vows to her own lips he loves [more than he protests he loves her when 
 he vows constancy and kisses herj. — Tr. <&■ Cr., i. 3. 
 
 Hector shall have a great catch, if he knock out either of your brains [the brains of 
 either of you]. — Ibid., ii. i. 
 
 Diomed has got that same scurvy doting foolish young knave's sleeve of Troy [young 
 knave of Troy's sleeve] there in his helm. — Ibid., v. 4. 
 
 The policy of those crafty swearing rascals . . . is not proved [is proved to be not] 
 worth a blackberry. — Ibid., v. 4. 
 
 My work hath yet not [not yet] warm'd me. — Coriol., i. 5. 
 
 Of all the treasure in this field achiev'd and city [achiev'd in this field and city]. — 
 Ibid., i. 9. 
 
 What good condition can a treaty find 
 
 I' the part that is at mercy ? [What good condition can the side that is at the 
 mercy of the other find in a treaty ?] — Ibid., i. 10. 
 
 Thereto witness may my surname, Coriolanus [my surname of Coriolanus may bear 
 witness thereto]. — Ibid., iv. 5. 
 
 / also am longer to live most weary [I also am most weary to live longer]. — Ibid., iv. 5. 
 
 * For Shakespeare's varied use of the word "mate," see Peculiar Use of Words. 
 
510 THE SHAKESPEARE KEY. 
 
 This so never-needed help [this never so much needed help].— CoWo/., v. i. 
 
 Nay, an you begin to rail on society once [once begin to rail on society], I am sworn 
 not to regard you. — Timon, i. 2. 
 
 Not nature, to whom all sores lay siege, can bear great fortune, but by contempt of 
 nature [human nature, liable to the assaults of every misfortune, can never bear great 
 fortune without showing contempt for its fellow-creatures]. — Ibid., iv. i. 
 
 So soon we shall drive back of Alcibiades th' approaches wild [the wild approaches of 
 Alcibiades]. — Ibid., v. 2. 
 
 Crimes, like lands, are not inherited [crimes are not inherited, as lands arel. — 
 Ibid., V. 5. ■' 
 
 And roars, as doth the lion, in the Capitol [and roars in the Capitol, as the lion 
 roars].— yu/. C, i. 3. 
 
 Rome, / make thee promise [I make promise to thee]. — Ibid., ii. i. 
 
 That every like is not the same, Ccesar, 
 
 The heart of Brutus yearns to think upon 1 [O Caesar, the heart of Brutus grieves to 
 think that everything which seems like another is not always the same as that other I] 
 — Ibid., ii. 2. 
 
 Speak, then, to me, who neither beg nor fear 
 
 Your favours nor your hate [who neither beg your favours nor fear your hate]. — 
 Macb., i. 3. 
 
 Which is now our point of second meeting [the point (or object) of our second 
 meeting].— 76irf., iii. i. 
 
 Free from our feasts and banquets bloody knives [free our feasts and banquets from 
 bloody knives]. — Ibid., iii. 6. 
 
 Our suffering country under a hand accursed ! [our country suffering under an 
 accursed hand I] — Jbid., iii. 6. 
 
 Pour in sow's blood, that hath eaten her nine farrow [the blood of a sow that hath 
 eaten]. — Ibid., iv. i. 
 
 Having ever seen in the frenominate crimes 
 
 The youth you breathe of guilty [the youth you breathe of guilty in the prenominate 
 crimes]. — Hamlet, ii. i. 
 
 But, good Laertes, will you do this [if you will do this], keep close within your 
 chamber. — Ibid., iv. 7. 
 
 Grop'd I to find out them [them out]. — Ibid., v. 2. 
 
 And your large speeches may your deeds approve [may your deeds prove equal to 
 your large speeches]. — Lear, i. i. 
 
 So distribution should [should distribution] undo excess. — Ibid., iv. i. 
 I marvel, our mild husband not met us [met us not, or, did not meet us] on the 
 way. — Ibid., iv. 2. 
 
 What cannot be preserv'd when fortune takes. 
 
 Patience her injury a mockery makes [when fortune takes what cannot be preserved, 
 patience makes a mockery of her injury]. — Oth., i. 3. 
 His barque is stoutly timber' d, and his pilot 
 
 Of very expert and approved allowance [of very allowed and proved expertness] . — 
 Ibid., ii. I. 
 
 I humbly do beseech you of [of you] your pardon. — Ibid., iii. 3. 
 This fellow 's of exceeding honesty. 
 And knows all qualities, with a learned spirit, 
 
 Of human dealings [and knows with an experienced spirit all qualities of human 
 dealings]. — Ibid., iii. 3. 
 
 How this Herculean Roman does become 
 
 The carriage of his chafe [makes his chafed bearing become him].— .^Ki. &• C, i. 3. 
 That he which is was wish'd until he were [that the man who is in power was 
 wished for until he came to be in power].— Ibid., i. 4. 
 Lepidus flatters both. 
 Of both is flattered ; but he neither loves [loves neither of them] 
 Nor either cares [does either of them care] for him. — Ibid., ii. i. 
 
PECULIAR CONSTRUCTION. 5" 
 
 Your wife and brother made wars upon me ; and their contestation was theme for 
 you [had you for its theme], you were the word of war. — Ant. &• C, ii. 2. 
 
 If Cleopatra heard you, your reproof were ivell deserv'd of rashness [the reproof 
 you would receive from her would be well deserved for your rashness]. — Ibid., u. 2. 
 
 Leap thou, attire and all, through proof of harness [armour of proof] to my 
 heart. — Ibid., iv. 8. 
 
 Her life in Rome would be eternal in our triumph [her living presence in Rome 
 would render our triumph eternal]. — Ibid., v. i. 
 
 And golden Phoebus never be beheld of eyes again so royal 1 [never again be 
 beheld by eyes so royal !]. — Ibid., v. 2. 
 
 And you shall hear the legions, now in Gallia, sooner landed in our not-feanng 
 Britain [you shall sooner hear that the legions, now in Gallia, are landed in our not- 
 fearing Britain] than have tidings of any penny tribute paid. — Cym., ii. 4. 
 
 From whose so many weights of baseness cannot 
 
 A dram of worth be drawn [a dram of worth cannot be drawn]. — Ibid., in. 5. 
 
 Many years, though Clotcn then but young, yoH see, not wore him from my remem- 
 brance [though Cloten then was but young, you see many years have not v/orn him 
 from my remembrance]. — Ibid., iv. 4. 
 
 Than be so, better to cease to be [better to cease to be than to be so]. — Ibid., iv. 4. 
 
 Fairer than those for preservation cas'd, or shame [those cased for preservation or 
 shame]. — Ibid., v. 3. 
 
 Why, do yc take it [why, then, take it]. — Per., ii. i. 
 
 Opinion 's but a fool, that makes us scan 
 
 The outward habit by the inward man [the inward man by the outward habit]. — 
 Ibid; ii. 2. 
 
 For a more blust'rous birth had never babe [for never had babe a. more blusterous 
 birth]. — Ibid., iii. i. 
 
 We are near Tharsus. — Thither, gentle mariner, alter thy course for Tyre [alter thy 
 course, which is now for Tyre, to go thither (to Tharsus)]. — Ibid., iii. i. 
 
 In your supposing once more put your sight of heavy Pericles [once more put what 
 you behold of the melancholy Pericles under the influence of your imagination]. — 
 Ibid., V. (Gower). 
 
 He has a few phrases where objects are mentioned and references 
 made in order of succession contrary to usual arrangement : — 
 
 What would you have, you curs. 
 
 That like nor peace nor war ? the one affrights you. 
 
 The other makes you prottd. — Coriol., i. i. 
 In all shapes that man goes up and down in from fourscore to thirteen, this spirit 
 walks in. — Timon, ii. 2. 
 
 Till he unseam'd him from the nave to the chops. — Macb., i. 2. 
 Thou hast it now — king, Cawdor, Glamis, all. — Ibid., iii. i. 
 
 They are apt enough to dislocate and tear 
 
 Thy flesh and bones. — Lear, iv. 2. 
 \i knife, drugs, serpents, have edge, sting, or operation, I am safe. — Ant. &• C, iv. 13. 
 And will to ears and tongues be theme and hearing ever. — Cym., iii. i. 
 
 He sometimes has phrases where verbs and pronouns are trans- 
 posed : — 
 But is my husband coming ? — Ay, in good sadness, is he. — Merry W., iv. 2. 
 And there will she sit in her smock. — M. Ado, ii. 3. 
 Like a demi-god here sit I in the sky. — Love's L. L., iv. 3. 
 There lay he, stretch'd along like a wounded knight. — As You L., iii. 2. 
 Then again worries he his daughter with clipping her. — W. T., v. 2. 
 You are so fretful, you cannot live long. — Why, there is it. — i H. IV., iii. 3. 
 The very same day did I fight with one Sampson. — 2 H. IV., iii. 2. 
 
512 THE SHAKESPEARE KEY. 
 
 My soul shall thine keep company to heaven. — H. V., iv. 6. 
 But gather we [let us gather] our forces out of hand. — i H. VI., iii. 2. 
 Why, then from Ireland come I with my strength. — 2 H. VI., iii. i. 
 Spr.awl'st thou ? [dost thou sprawl ?] take that. — 3 H. VI., v. 5. 
 Now march we [let us march] hence. — Ibid., v. 5. 
 
 The son of Clarence have I pent up close ; 
 
 His daughter meanly have I match'd in marriage. — R. III., iv. 3. 
 That shall not serve your turn ; that shall it not. — Tr. &■ Cr., iii. i. 
 Dar'st thou [dost thou dare], Cassius, now. — Jul. C, i. 2. 
 Now sit we [let us sit] close about this taper. — Ibid., iv. 3. 
 Come, go we [let us go] to the king. — Macb., iv. 3. 
 
 Near Birnam wood shall we well meet them ; that way are they coming. — Ibid., v. 2. 
 Well, march we [let us march] on. 
 
 To give obedience where 'tis truly ow'd : 
 
 Meet we [let us meet] the medicine of the sickly weal ; 
 
 And with hira pour n'e [let us pour], in our country's purge. 
 
 Each drop of us . . . 
 
 Make we [let us make] our march towards Birnam. — Ibid., v. 2. 
 The day almost itself professes yours. — Ibid., v. 7. 
 This to me in dreadful secrecy impart they did. — Hamlet, i. 2. 
 Com'st thou [dost thou come] to beard me in Denmark i—Ibid., ii. 2. 
 Pray can I not, though inclination be as strong. — Ibid., iii. 3. 
 Why so earnestly seek you [do you seek] to put up that letter 1—Lear, i. 2. 
 Thy half o' the kingdom hast thou not forgot. — Ibid., ii. 4. 
 Shut your mouth, dame ; or with this paper shall I stop it. — Ibid., v. 3. 
 It is too true an evil : gone she is. — 0th., i. i. 
 
 Even out of that will I cause these of Cyprus to mutiny. — Ibid., ii. i. 
 Thus do they, sir; they take the flow o' the Nile. — Ant. &• C, ii. 7. 
 Fight I will no more, but yield me to the. — Cym., v. 3. 
 Also, phrases where epithets and nouns are transposed :— 
 If love ambitious sought a match of birth. — yohn, ii. 2. 
 Why the law Salique, that they have in France. — H. V., i. 2. 
 That the land Salique is in Germany. — Ibid., i. 2. 
 The sword, the mace, the crown imperial . . . 
 Not all these laid in bed majcstical. — Ibid., iv. i . 
 Tears virginal shall be to me even as the dew. — 2 H. VI., v. 2. 
 In peril of precipitation from off the rock Tarpeian. — Coriol., iii. 3. 
 That seems to speak things strange. — Macb., i. 2. 
 But treasons capital, confess'd and proved. — Ibid., i. 3. 
 My dull brain was wrought with things forgotten. — Ibid., i. 3. 
 The borders maritime lack blood to think on 't. — Ant. &' C, i. 4. 
 Whilst I wore his sword Philippan. — Ibid., ii. 5. 
 Are you good men and true? — M. Ado, iii. 3. 
 Thou hast a cruel nature and a bloody. — H. VIII., v. 2. 
 He cannot flatter, he — an honest mind and plain. — Lear, ii. 2. 
 For he hath laid strange courtesies and great 
 Of late upon me. — Ant. &• C, ii. 2. 
 There are some passages where our great dramatist gives incon- 
 secutive construction, in order to mark agitation in the speaker [See 
 Soliloquies and Variations] : — 
 
 I am more proud to be Sir Roland's son, 
 
 His youngest son ;— and would not change that calling, 
 
 To be adopted heir to Frederick. — As You L., i. 2. 
 
PECULIAR CONSTRUCTION. 513 
 
 Orlando begins with the words, " I am more proud to be," which 
 seems to require 'than' before "to be adopted"; but Duke 
 Frederick's previous speech having roused the noble young man into 
 indignation, he replies- with a natural half-incoherence of expression. 
 
 This ring was mine ; and when I gave it Helen, 
 
 I bade her, if her fortunes ever stood 
 
 Necessitied to help, that by this token 
 
 I would relieve her. — All's W., v. 3. 
 
 The king, by the expression "necessitied to help" implies 'ne- 
 cessitied to ask for help ' ; and thus the effect of appeal by presentation 
 of the ring is given to the sentence, which allows the words, " that by 
 this token I would relieve her," to follow naturally. The king's deep 
 displeasure at Bertram's conduct causes him to speak with this 
 succinctness and condensed utterance. 
 
 Let me speak a little. This youth that you see here 
 
 I snatch'd one half out of the jaws of death ; 
 
 Reliev'd him with such sanctity of love, — 
 
 And to his image, which methought did promise 
 
 Most honourable worth, did I devotion. — Tw. N., iii. 4. 
 
 In this outburst of passionate feeling, the inconsecutive construction 
 serves admirably to denote the emotion with which Antonio speaks ; 
 and " such," which seems to require ' that ' or ' as ' to follow up the 
 sentence, being succeeded by a break in the speech, artistically conveys 
 the impression of the broken voice and bitter feeling of the utterer. 
 'A made a finer end, and went away, an it had been any christom child. — H. V., ii. 3. 
 The word " finer" is used by the hostess as if she were going to say 
 ' finer than any christom child ' ; but, in her slipshod style and her 
 grief at the recollection of Falstaff's death, she changes the construction 
 of her sentence half way by the introduction of the words, "and went 
 away," which requires the 'as if it had been any christom child,' to 
 complete the sense of what she thus secondly says. 
 
 The king, on his own royal disposition. 
 
 And not provok'd by any suitor else ; 
 
 Aiming, belike, at your interior hatred, 
 
 That in your outward action shows itself 
 
 Against my children, brothers, and myself. 
 
 Makes him to send ; that thereby he may gather 
 
 The ground of your ill-will, and so remove it. — R. III., i. 3. 
 The inconsequence observable in the construction of this speech 
 serves well to mark the perturbed condition of the queen, as she thus 
 replies to Gloster's insidious attack: — 
 
 A man, young lady ! lady, such a man, 
 
 As all the world — why he 's a man of wax. — R. &• yuL, i. 3. 
 
 Here the nurse's interrupted diction is somewhat similar to that of 
 the hostess, just before cited; but nursey's flustered incompetence 
 to finish her phrase arises from her wishing to show bow impossible 
 it is adequately to express her sense of County Paris' s matchless 
 excellence. 
 
 But myself, 
 Who had the world as my confectionary ; • 
 The mouths, the tongues, the eyes, and hearts of men 
 At duty more than I could frame employment 
 
 2 L 
 
514 THE SHAKESPEARE KEY. 
 
 That numberless upon me stuck, as leaves 
 Do on the oak, have with one winter's brush 
 Fell from their boughs, and left me open, bare 
 For every storm that blows ; — I, to bear this, 
 That never knew but better, is some burden : 
 Thy nature did commence in sufferance, time 
 Hath made thee hard in 't. — Timon, iv. 3. 
 
 To our thinking, the disconnected construction in this fine passage 
 aids well the dramatist's purpose of indicating the passionate indigna- 
 tion of Timon against his professedly cynical tormentor and against his 
 faithless friends. 
 
 No, not an oath : if not the face of men. 
 
 The sufferance of our souls, the time's abuse,— 
 
 If these be motives weak, break off betimes. 
 
 And every man hence to his idle bed. — yul. C, ii. i. 
 
 The break in the consecution of constructional progress perceptible 
 here, helps to mark the eager earnestness of the speaker. 
 
 Impatient of my absence. 
 And grief that young Octavius with Mark Antony 
 Have made themselves so strong ; — for with her death 
 That tidings came ; — with this she fell distract. 
 And, her attendants absent, swallow'd fire. — Ibid., iv. 3. 
 
 The disjointed framing of this speech has excellent effect in denot- 
 ing the profound sorrow of Brutus at the loss of his wife beneath his 
 assumed stoicism of courage upon hearing the news. 
 
 What are you, then, determined to do ?— 
 
 Even by the rule of that philosophy 
 
 By which I did blame Cato for the death 
 
 Which he did give himself: — I know not how. 
 
 But I do find it cowardly and vile. 
 
 For fear of what might fall, so to prevent 
 
 The time of life; arming myself with patience 
 
 To stay the providence of some high powers 
 
 That govern us below. — Ibid., v. i. 
 
 The inconsecutive construction here well represents the speaker as a 
 man rather deliberating with himself, and pursuing an inward train of 
 thought, than giving a direct answer to a question. 
 
 Here, as before, never, so help you mercy. 
 
 How strange or odd soe'er I bear myself — 
 
 As I perchance, hereafter shall think meet 
 
 To put an antick disposition on — 
 
 That you, at such times seeing me, never shall. 
 
 With arms encumber'd thus, or this head-shake, 
 
 Or by pronouncing of some doubtful phrase. 
 
 As, " Well, well, we know ; " — or, " We could, an if we would ; " — 
 
 Or, " If we list to speak ; " — or, " There be, an if they might ; " — 
 
 Or such ambiguous giving out, to note 
 
 That you know aught of me : this not to do, 
 
 So grace and mercy at your most need help you, 
 
 Swear. — Hamlet, i. 5. 
 
 Excellently does the immethodical phraseology in this speech help to 
 depict the tumult of the speaker's mind at the present juncture ; partly 
 occupied with the awe inspired by the recent appearance of his father's 
 spirit, partly with the conception of his plan for the future in assuming 
 madness. 
 
PECULIAR CONSTRUCTION. 513 
 
 When by no means he could . . . 
 Persuade me to the murder of your lordship ; 
 But that I told him, the revenging gods 
 'Gainst parricides did all their thunders bend ; 
 Spoke, with how manifold and strong a bond 
 The child was bound to the father ; — sir, in fine, 
 Seeing how loathly opposite I stood 
 To his unnatural purpose, in fell motion. 
 With his prepared sword, he charges home 
 My unprovided body, lanc'd mine arm. — Lear, ii. i. 
 
 The ill-following sentences here serve to represent Edmund's hurriedly 
 concocted narration of the pretended fray between himself and his brother, 
 whom he is seeking to ruin in their father's opinion. 
 
 Why, the hot-blooded France, that dowerless took 
 Our youngest born, I could as well be brought 
 To knee his throne, and, squire-like, pension beg 
 To keep base life afoot. — Ibid., ii. 4. 
 
 The disturbed mode of construction in this speech consists perfectly 
 with the agitation of the hapless old king's mind. 
 
 What hath been seen. 
 Either in snuff's and packings of the dukes; 
 Or the hard rein which both of them have borne 
 Against the old kind king ; or something deeper, 
 Whereof perchance these are but furnishings ; — 
 But, true it is, from France there comes a power 
 Into this scatter'd kingdom. — Ibid., iii. i. 
 
 The irregularity of the construction here has characteristic effect, as 
 suiting with the wild circumstances of the scene, with the mysteriousl)' 
 hinted nature of the communication, and with the concealed rank of the 
 speaker. 
 
 She is abus'd, stol'n from me, and corrupted 
 
 By spells and medicines bought of mountebanks ; 
 
 For nature so preposterously to err — 
 
 Being not deficient, blind, or lame of sense — 
 
 Sans witchcraft could not. — 0th., i. 3. 
 
 The inconsecutive construction in the phrase, " For nature so pre- 
 posterously to err, sans witchcraft could not," accords well with the 
 father's perturbation of mind. 
 
 I do beseech you — 
 Though I perchance am vicious in my guess. 
 As, I confess, it is my nature's plague 
 To spy into abuses, and oft my jealousy 
 Shapes faults that are not — that your wisdom yet. 
 From one that so imperfectly conceits. 
 Would take no notice ; nor build yourself a trouble 
 Out of his scattering and unsure observance. — Ibid., iii. 3. 
 
 The halting construction of this speech well gives the effect of lago's 
 putting on a hesitating, unwilling manner; half expressing, half sup- 
 pressing his suggestions, and whetting his victim's anxiety to hear 
 more by bidding him desire to hear no more. 
 
 Occasionally, Shakespeare has phrases of confused construction, for 
 the sake of giving some special effect : — 
 
 Who cannot want the thought, how monstrous 
 It was for Malcolm and for Donalbain 
 To kill their gracious father ? damned fact ! 
 
 2 L 2 
 
5i6 THE SHAKESPEARE KEY. 
 
 How it did grieve Macbeth ! did he not straight, 
 
 In pious rage, the two delinquents tear, 
 
 That were the slaves of drink and thralls of sleep ? 
 
 Was not that nobly done ? Ay, and wisely too ; 
 
 For 'twould have angered any heart alive 
 
 To hear the men deny 't. — Macb., iii. 6. 
 
 The construction of the first sentence here is so contrived as to give 
 superficially the effect of, ' Who can fail to have the thought how 
 monstrously wicked it was, &c.,' while in reality meaning, ' Who cannot 
 be without the thought that Malcolm and Donalbain could be so 
 > monstrously wicked as to kill, &c.' The ambiguity of the mode of 
 expression harmonises completely with the strain of irony and mocking 
 question throughout the whole speech. 
 
 Those wicked creatures yet do look well-favour'd. 
 When others are more wicked ; not being the worst 
 Stands in some rank of praise. I "11 go with thee : 
 Thy fifty yet doth double five-and-twenty. 
 And thou art twice her love. — Lear, ii. 4. 
 
 Pope proposed to alter " art " to 'hast' here ; but the phraseology is 
 peculiarly Shakespearian — that is, better than conventionally correct. 
 The introduction of the word "art" into this sentence gives the 
 characteristic touch of confused idea to Lear's diction, besides according 
 with the passionate vehemence and imaginative force that distinguish 
 his mode of expression. He embodies the "love" here; making it 
 the representation of his daughters, valued according to their relative 
 amount of affection towards him. 
 
 Thou hadst been better have been born a dog. 
 
 Than answer my wak'd wrath. — 0th., iii. 3. 
 
 The redundancy of the first " been " in that sentence, far from being 
 a blemish, seems to us to aid in conveying the effect of agitated 
 utterance. 
 
 Shakespeare has very many phrases of condensed and elliptical con- 
 struction. [See Elliptical Style and Elliptically used Words] : — 
 
 Who were below him 
 
 He us'd as creatures of another place ; 
 
 And bow'd his eminent top to their low ranks. 
 
 Making them proud of his humility, 
 
 In their poor praise he /lami^erf [in praising whom he humbled himself] . — All's W.,i.2. 
 Can't no other. 
 
 But, I your daughter, he must be my brother.' [Can it be no otherwise than were I 
 your daughter, he must be my brother?] — Ibid., i. 3. 
 
 I have spoke 
 
 With one that, in her sex, her years, profession. 
 
 Wisdom, and constancy, hat?i amaz'd me more 
 
 Than I dare blame my weakness [hath filled me with more well-grounded astonish- 
 ment than with weak credulity deserving blame]. — Ibid., ii. i. 
 
 Beware of them, Diana ; their promises, enticements, oaths, tokens, and all these 
 engines of lust, are not the things they go under [are not the things under the names of 
 which they go]. — Ibid., iii. 5. 
 
 And the misery is, example, that so terribly shows in the wreck of maidenhood, cannot 
 for all that dissuade succession [warn against following in the same path]. — Ibid., iii. 5. 
 Yet, good deed, Leontes, 
 
 I love thee not ajar 0' the clock behind 
 
 What lady she her lord [not so much as a tick of the clock less than any lady loves 
 her lord, however dearly she may love him]. — W. T., i. 2. 
 
PECULIAR CONSTRUCTION. 517 
 
 I never heard of such another encounter, which lames report to follow it, and undoes 
 description to do it [ruins description in attempting to describe it]. — W. T., v. 2. 
 My lord of Hereford, my message is to you. — 
 
 My lord, tny ansiver is— to Lancaster [I will make my answer when you address me 
 as Duke of Lancaster, which is my title now, and not lord of Hereford]. — R. II., ii. 3. 
 Little are we beholden to your love. 
 
 And little look'dfor at your helping hands [And little was this small amount of love 
 looked for at your hands which should have helped us]. — Ibid., iv. i. 
 
 Arrest them to the answer of the law [to make their answer to the law]. — H. V., ii. 2. 
 Scorn and defiance ; slight regard, contempt. 
 And anything that may not misbecome 
 
 The mighty sender, doth he prize you at [he esteems you worthy of no other than 
 slight regard and contempt], — Ibid., ii. 4. 
 
 It may be, his enemy is a gentleman of great sort, quite from the answer of his 
 degree [of great rank, quite removed from a corresponding level of low degree with 
 that of the soldier, and therefore exempt from being called upon to render him an 
 answer]. — Ibid., iv. 7. 
 Me secmeth [it seems to me], then, it is no policy. — 2 H. VI., iii. 1. 
 A sceptre shall it have — have I a soul [as surely as I have a soul] — on which I '11 toss 
 the flower-de-luce of France. — Ibid., v. i. 
 Suppose, my lords, he did it unconstrain'd. 
 
 Think you 'twere prejudicial to his crown? [to the due hereditary succession of his 
 crown]. — 3 H. VI., i. i. 
 
 The broken rancour of your high-swoln hearts, 
 But latclv splintered, knit and joined together. 
 
 Must gently be preserv'd, cherish'd, and kept [The unsound rancour of your proud 
 hearts, like a newly set limb but lately splinted, must be carefully tended until il 
 become perfectly sound and whole]. — R. III., ii. 2. 
 This, this All-Souls' day to my fearful soul 
 
 Is the determined respite of my wrongs [This All-Souls' day is the period to which my 
 trembling soul sees that the punishment of its misdeeds has been respited]. — Ibid., v. i. 
 That blind priest, like the eldest son of fortune, 
 
 Turns what he list [turns as he pleases whatever event he chooses to turn, as if it 
 were the wheel of fortune]. — H. VIII., ii. 2. 
 
 How tastes it ? is it bitter ? forty pence, no [I '11 wager forty pence that it is not].— 
 Ibid., ii. 3. 
 
 Of which there is not one . . . but will deserve. 
 For virtue and true beauty of the soul, 
 For honesty and decent carriage, 
 
 A right good husband, let him be a noble [even though he should be a nobleman]. — 
 Ibid., iv. 2. 
 
 You are potently oppos'd ; and with a malice 
 
 Of as great a size [as great as is the power that opposes you]. — Ibid., v. i. 
 
 What was purpos'd 
 Concerning his imprisonment, was rather 
 (If there be faith in men) meant for his trial. 
 And fair purgation to the world, than malice, — 
 I'm sure, in me [it was so meant by me]. — Ibid., v. 2. 
 
 All princes living with her [living at the same epoch with herself]. — Ibid., v. 4. 
 
 His youth in flood [though his youthful blood be in full flow], 
 
 I '11 prove this truth with my three drops of blood. — Tr. &• Cr., i. 3. 
 
 And sometimes we are devils to ourselves. 
 
 When we will tempt the frailty of our powers. 
 
 Presuming on their changeful potency [presuming too far on the strength of that 
 which is variable, unstable, and fallible]. — Ibid., iv. 4. 
 
 To pray Achilles see us at our tent [To pray that Achilles will come and see us at our 
 tent]. — Ibid., v. 10. 
 
5i8 THE SHAKESPEARE KEY. 
 
 He cannot temperately transport his honours 
 
 From where he should begin, and end [from where he should begin to where he should 
 end]. — Coriol., ii. i. 
 
 I would they would forget me, like the virtues 
 
 Which our divines lose by them [as they forget the virtues which our divines vainly 
 endeavour to implant in them]. — Ibid., ii. 3. 
 Put not your worthy rage into your tongue ; 
 
 One time will owe another [some other time will give you the opportunity which the 
 present time denies you]. — Ibid., iii. i. 
 
 And you will rather show our general louts 
 How you can frown, than spend a fawn upon them, 
 For the inheritance of their loves, and safeguard 
 Of what that want [the want of that love] might ruin. — Ibid., iii. 2. 
 To beg of thee, it is my more dishonour 
 
 Than thou of them [it is more dishonour for me to beg of thee than it is dishonour 
 for thee to beg of them]. — Ibid., iii. 2. 
 
 Fortune's blows. 
 When most struck home, being gentle wounded, craves 
 
 A noble cunning [when Fortune's blows are most struck home, to be gentle, although 
 wounded, demands a noble philosophy]. — Ibid., iv. i. 
 
 Thy sight, which should make our eyes flow with joy, hearts dance with comforts, 
 constrains them weep, and shake with fear and sorrow [the sight of thee, which should 
 make our eyes flow with joy and our hearts dance with comfort, constrains our eyes to 
 weep, and our hearts to shake with fear and sorrow]. — Ibid., v. 3. 
 
 Oh, she is rich in beauty; only poor. 
 
 That, when she dies, with beauty dies her store [with her individual beauty dies so 
 large a store of beauty]. — R. &• Jul., i. i. 
 
 Going to find a barefoot brother out. 
 
 One of our order, to associate me 
 
 Here in this city visiting the sick [to bear me company, he being here in this city 
 visiting the sick]. — Ibid., v. 2. 
 
 He does deny him, in respect of his, 
 
 What charitable men afford to beggars [he refuses to give him that which, in com- 
 parison with his own means, is but the usual alms afforded by charitable men to 
 beggars]. — Timon, iii. 2. 
 
 Had his necessity made use of me, 
 
 I would have put my wealth into donation. 
 
 And the best half should have returned to him [I would have treated my wealth as if 
 it had been Timon's gift, and would have sent him back the larger half]. — Ibid., iii. 2. 
 
 If there be such valour in the bearing, what make we abroad ? [What do we do out 
 fighting? or what makes us go forth into the field ?] — Ibid.,-'m. 5. 
 
 Dry up thy marrows, vines, and plough-torn leas [the marrows of thy vines and 
 plough-torn leas]. — Ibid., iv. 3. 
 
 Willing misery 
 
 Outlives incertain pomp, is crown'd before : 
 
 The one is filling still, never complete ; 
 
 The other, at high wish ; best state, contentlcss, 
 
 Hath a distracted and most wretched being. 
 
 Worst than the worst, content. 
 
 Thou shouldst desire to die, being miserable [Willing misery outlives uncertain 
 grandeur, its desires are sooner and more surely fulfilled : the one is ever cravintf, 
 never satisfied ; the other is always at the height of its wishes : the best of states, 
 without content, has a distracted and most wretched existence, worse than the verv 
 worst of states, with content. Thou shouldst desire to die, being unwillingly miserable] . 
 — Ibid., iv. 3. 
 
 Not a man 
 
 Shall pass his quarter, or offend the stream 
 
 Of regular justice in your city's bounds, 
 
PECULIAR CONSTRUCTION. 519 
 
 But shall be render'd to your public laws 
 
 At heaviest answer [that he may make answer to its heaviest decrees and penalties j. 
 — Timon, v. 5. 
 
 He hath left them you, 
 
 And to your heirs for ever, — common pleasures, 
 
 To walk abroad, and recreate yourselves [pleasures to be enjc^ed by you all in 
 common, where you may walk abroad and recreate yourselves]. — ^tcl, C, iii. 2. 
 
 Did not great Julius bleed for justice' sake ? 
 
 What villain touched his body, that did stab. 
 
 And not for justice ? [Who among those that assailed Caesar was a villain that 
 stabbed him otherwise than for justice ?] — Ibid., iv. 3. 
 
 Yet, countrymen, oh, yet hold up your heads ! — 
 
 What bastard doth not ? [Who is it that would prove himself degenerate by not 
 holding up his head and still maintaining the fight ?]. — Ibid., v. 4. 
 
 Think upon what hath chanc'd ; and, at more time, 
 
 The interim having weighed it [the interim having allowed of its being duly 
 balanc'd in our minds], let us speak our free hearts each to other. — Macb., i. 3. 
 
 Thy letters have transported me beyond 
 
 This ignorant present [this present moment unacquainted with the existence of that 
 which hereafter will exist]. — Ibid., i. 5. 
 
 I will' advise you where to plant yourselves ; 
 
 Acquaint you with the perfect spy o' the time [the precise time when you may espy 
 him coming]. — Ibid., iii. i. 
 
 The head is not more native to the heart. 
 
 The hand more instrumental to the mouth. 
 
 Than is the throne of Denmark to thy father [The head is not more naturally co- 
 operative with the heart, or the hand more actively useful to the mouth, than the 
 throne of Denmark is willing to be serviceable to thy father]. — Hamlet, i. 2. 
 
 That, on the supervise, no leisure bated [no abatement of time allowed]. — Ibid., v. 2. 
 
 Answer my lif c my judgment \L,&t-my\iiehea.aswera.h\e for my judgment j.^L^ar, i. i. 
 World, world, oh, world ! 
 
 But that thy strange mutations make us hate thee, 
 
 Life would not..yield to age [we should never be willing to surrender life even in 
 old age]. — Ibid., iv. i. 
 
 Mean you to espouse him ? — 
 
 The let-alone lies not in your good will [The relinquishment of the match depends 
 not upon your will, however much your will might desire that relinquishment]. — 
 Ibid., V. 3. 
 
 In night, and on the court and guard of safety [on the very spot and guarding-place 
 of safety]. — 0th., ii. 3. 
 
 This broken joint between you and her husband entreat her to splinter ; and, my 
 fortunes against any lay worth naming, this crack of your love shall grow stronger 
 than it was before [the bond injured by this crack in your love shall become stronger 
 than it was before (see the similarly constructed passage above quoted from " Kino' 
 Richard III.," ii. 2)].— Ibid., ii. 3. 
 
 I have made my way through more impediments 
 
 Than twenty times your stop [more impediments than twenty times as much as that 
 by which you would stop me]. — Ibid., v. 2. 
 
 I would have broke mine eye-strings ; crack'd them, but 
 
 To look upon him ; till the diminution 
 
 Of space [diminution caused by space] had pointed him sharp as my needle. — Cym., i. 4. 
 
 Slaver with lips as common as the stairs 
 
 That mount the Capitol [by which the Capitol is mounted]. — Ibid., i. 7. 
 
 How we may steal hence ; and for the gap 
 
 That we shall make in time,/rom our hence-going 
 
 And our return [from the period of our hence-going until that of our return (See 
 the similarly constructed passage above quoted from " Coriolanus," ii. i)], to excuse. 
 — Ibid., iii. 2. 
 
520 THE SHAKESPEARE KEY. 
 
 Why hast thou gone so far, 
 
 To be unbent [to have thy bow unbent] when thou hast ta'en thy stand, 
 
 The elected deer before thee? — Cym.^ iii. 4. 
 Must I repent ? 
 
 / cannot do it better than in gyves, 
 
 Desir'd more than constrain d [I cannot repent better than in gyves, desiring to do 
 so more than constrained to do so]. — Ibid., v. 4. 
 
 This man is better than the man he slew, 
 
 As well descended as thyself; and hath 
 
 More of thee merited than a band of Clotens 
 
 Had ever scar for [hath merited more of thee than a whole band of Clotens ever 
 received a single scar to entitle them to claim]. — Ibid., v. 5. 
 
 Shakespeare has some passages of very peculiar and condensed 
 construction, where a comparison is made [See Ellipses of 
 Comparison] : — 
 
 And for womanhood. Maid Marian may be the deputy's wife of the ward to thee [might 
 be wife to the deputy of the ward if compared in fitness with thee]. — i H. IV., iii. 3. 
 
 Upon their ancient malice, will forget. 
 
 With the least cause, these his new honours ; which. 
 
 That he will give them, make I as little question 
 
 As he is proud to do't [wnich cause, that he will give them, I as little question as 
 that he is proud enough to do it, and proud of doing itj. — CorioL, ii. i. 
 
 Like madness is the glory of this life. 
 
 As this pomp shows to a little oil and root [Just such madness is the glory of this 
 life, as the pomp of this feast appears when compared with the philosopher's frugal 
 repast of a little oil and a few roots]. — Timon, i. 2. 
 
 What if this cursed hand were thicker than itself with brother's blood [were steep'd 
 in brother's blood to the thickness of itself]. — Hamlet, iii. 3. 
 
 Sometimes Shakespeare uses the present or future tense in the 
 kind of sentence where the participle is generally used : — 
 
 Though bride and bridegroom wants [are wanting] for to supply the places at the 
 table. — Tarn, of S., iii. 2. 
 Your betters have endured !ne say [my saying] my mind. — Ibid., iv. 3. 
 I know not how I shall assure you farther. 
 But / shall lose [by losing] the grounds I work upon. — All's W., iii. 7. 
 
 Sometimes he uses the present tense in the kind of sentence where 
 other forms of phraseology are generally used : — 
 
 You are the first that rears [are to rear] your hand. — jfiil. C iii. i. 
 
 I cannot say whore — it does abhor me [it is abhorrent to me], now I speak the 
 word. — 0th., iv. 2. 
 
 Sometimes he uses the infinitive mood in the kind of sentence 
 where other forms of phraseology are emplo3'ed : — 
 
 I fly not death, to fly [by flying] his deadly doom. — Two G. of V., iii. i. 
 
 Heaven would that she these gifts should have, 
 
 And / to live [that I should live] and die her slave. — .As You L., iii. 2 (Verses). 
 
 His private arbours, and new-planted orchards, . . . 
 
 To walk [where you may walk] abroad, and recreate yourselves. — ytil. C, iii. 2. 
 
 Myself the while to draw [might draw] the Moor apart. — 0th., ii. 3. 
 
 What a plague mean ye to colt [by coking] me thus ? — i H. IV., ii. 2. 
 
 Who, then, shall blame his pester'd senses to recoil and start [for recoiling and 
 starting], when all that is within him does condemn itself for being there? — Macb.,w.2. 
 
 And, for I am richer than to hang [to be hung] by the walls, I must be ripp'd. — Cym., iii. 4. 
 
 And how achiev'd you these endowments, which you make more rich to owe [by 
 possessing them]. — Per., v. 1. 
 
PECULIAR CONSTRUCTION. 521 
 
 Sometimes he uses the participle in the kind of sentence where 
 other forms of phraseology are ordinarily employed : — 
 
 And, now / am remember' d [I remember], scorn'd at me. — As You L., iii. 5. 
 
 But if you be remember' d [remember], I did not bid. — Tam. of S., iv. 3. 
 
 Myperson; which I weigh not, 6W«o- [ifit be] of those virtues vacant. — H. VIII.,v.i. 
 
 How have I been behaved [can I have behaved] that he might stick the small'st 
 opinion on my least misuse } — Oih.^ iv. 2. 
 
 What's her price, Boult ? — I cannot be bated [get them to bate me] one doit of a 
 thousand pieces. — Per., iv. 3. 
 
 Sometimes he has sentences with verbs somewhat pleonastically 
 employed : — 
 Admit him entrance, Griffith. — H. VIII., iv. 2. 
 
 We shall not spend a large expense of time,* 
 
 Before we reckon with your several loves. — Macb,^ v. 7. 
 
 That we the pain of death would hourly die, 
 
 Rather than die at once \^Lcar, v. 3. 
 
 Shakespeare has some passages where one sentence is followed up by 
 a second illustrating the first ; and sometimes with a repeated word : — 
 
 Dost think I am so muddy, so unsettled. 
 
 To appoint myself in this vexation. — W. T., i. 2. 
 
 Take pity of your town and of your people. 
 
 Whiles yet my soldiers are in my command ; 
 
 Whiles yet the cool and temperate wind of grace 
 
 O'erblows the filthy and contagious clouds. — H. V., iii. 3. 
 
 In him there is a hope of government ; 
 
 That, in his nonage, council under him. 
 
 And, in his full and ripen'd years, himself, 
 
 Xo doubt, shall then, and till then, govern well. — R. III., ii. 3. 
 
 There 's his period to sheathe his knife in us. — H. VIII., i. 2. 
 
 After my death I wish no other herald, 
 
 No other speaker of my living actions, 
 
 To keep mine honour from corruption. 
 
 But such an honest chronicler as Griffith. — Ibid., iv. 2. 
 
 Know you not 
 How your state stands i' the world, with the whole world ? — Ibid., v. i. 
 
 Now shall we see to-morrow. 
 An act that very chance doth throw upon him, 
 Ajax renown'd. — Tr. &• Cr., iii. 3. 
 No, Cassius ; for the eye sees not itself. 
 But by reflection, by some other things. — jul. C, i. 2. 
 Tell me — but truly — but then speak the truth. 
 Do you not love my sister ? — Lear, v. i. 
 
 To take the widow. 
 Exasperates, makes mad, her sister. — Ibid., v. i. 
 Let 's teach ourselves that honourable stop, 
 Not to out-sport discretion. — Oth., ii. 3. 
 Her tongue will not obey her heart, nor can 
 Her heart inform her tongue — the swan's down feather. 
 That stands upon the swell at the full of tide, 
 And neither way inclines. — Ant. &■ C, ii. 2., 
 
 • See our remarks upon this passage under Repeated Words. 
 
522 THE SHAKESPEARE KEY. 
 
 Most monster-like, be shown 
 For poor'st diminutives, /o;-* doits. — Ant. &• C, iv. lo. 
 
 I, that with my sword 
 Quarter'd the world, and o'er green Neptune's back 
 With ships made cities, condemn myself to lack 
 The courage of a woman ; lesst noble mind 
 Than she which by her death our Csesar tells, 
 " I am conqueror of myself." — Ibid., iv. 12. 
 
 Thou art sworn, Eros, 
 That, when the exigent should come (which now 
 Is come indeed), iL'hen I should see behind me 
 The inevitable prosecution of 
 Disgrace and horror, that, on my command. 
 Thou then wouldst kill me. — Ibid., iv. 12. 
 I never do him wrong 
 But he does buy my injuries to be friends; 
 Pays dear for my oifences. — Cym., i. 2. 
 A wooer more hateful than the foul expulsion is 
 Of thy dear husband, than that horrid act 
 • Of the divorce he 'd make ! — Ibid., ii. i. 
 
 Woe is my heart that the poor soldier, that so richly fought, 
 
 Whose rags shamd gilded arms, whose naked breast 
 
 Stepp'd before targes of proof, cannot be found. — Ibid., v. 5. 
 
 I never saw such noble fury in so poor a thing ; 
 
 Such precious deeds in one that promis'd naught 
 
 But beggary and poor looks. — Ibid., v. 5. 
 
 Our heir apparent is a king ! 
 
 Who dream d, who thought of such a thing? — Per., in. {Goicer). 
 
 Occasionally Shakespeare gives emphatic effect to a speech by intro- 
 ducing a precisely repeated word and phrase : — 
 
 Now does he feel 
 His secret murders sticking on his hands ; 
 Now minutely revolts upbraid his faith-breach ; 
 Those he commands move only in command. 
 Nothing in love ; now does he feel his title 
 Hang loose about him, like a giant's robe 
 Upon a dwarfish thief. — Macb., v. 2. 
 
 PECULIAR REPLIES. 
 
 Shakespeare occasionally introduces peculiarly phrased replies, 
 where the form of answer does not seem precisely to cohere with the 
 form of question just put : — 
 
 * It has been proposed to change the first " for " in the present passage into ' to,' 
 assuming " poor'st diminutives " to signify ' meanest and most insignificant persons ' ; 
 whereas " poor'st diminutives " is here used for ' smallest and lowest coins,' as 
 "poorest piece" is used in ■' Coriolanus," iii. 3. 
 
 f ' To be of is elliptically understood before "less noble mind"; and under 
 Elliptical Style we have shown several instances of passages similarly constructed, 
 though the present one has been suspected of error, and altered by emendators. If 
 Shakespeare's mode of occasionally employing the infinitive mood be borne in mind, 
 it will be seen that " condemn myself to lack" means 'condemn myself for lacking' ; 
 and then, according to his elliptical style, allows " less noble mind " to imply ' condemn 
 myself for being of less noble mind.' 
 
PECULIAR REPLIES. 523 
 
 When are you married, madam ? — 
 
 Why, every day to-morrow [See Note at p. 357, Idioms, for our explanation of this 
 reply]. — M. Ado, iii. i. 
 Hate him not, for my sake. — 
 Why should I not ? doth he not deserve well ? — As You L., i. 3. 
 
 After " why should I not," we must understand ' not hate him ? ' 
 Celia implj'ing, ' Why should I not love him ? ' as is shown by what 
 Rosalind says immediately after. 
 
 Can it be possible that no man saw them ? . , . 
 I cannot hear of any that did see her. — Ibid., ii. 2. 
 
 Duke Frederick asks after both ladies ; while the courtier, in his 
 repl}% mentions the duke's daughter only. 
 
 Thou knowest, winter tames man, woman, and beast ; for it hath tamed my old 
 master, and my new mistress, and myself, fellow Curtis. — 
 Away, you three-inch fool ! / am no beast. — Tain, of S., iv. i. 
 
 Grumio having made himself out to be "a beast," and then called the 
 other servant " fellow Curtis," includes him in the imputation, thereby 
 eliciting Curtis's indignant disclaimer. 
 
 It shall do you no harm to learn. — 
 
 To be young again, if we could. — All's W., ii. 2. 
 
 The old Countess follows up the Clown's remark as if it were an 
 incomplete sentence. 
 
 How goes all in France ? — 
 
 From France to England, — yohn, iv. 2. 
 
 The messenger makes part of the king's inquiry form the implied 
 commencement of his own ; as if he said : — 
 ' All goes now from France to England.' 
 
 I had a mighty cause 
 To wish him dead, but thou hadst none to kill him. — 
 No had, my lord ! why, did you not provoke me ? — Ibid., iv. 2. 
 
 "No had," as well as 'no did,' 'no does,' and 'no will,' were 
 idiomatic retorts formerly in use. 
 
 How now. good Blunt ! thy looks are full of speed. — 
 
 So hath the business that I come to speak of. — i H. IV., iii. 2. 
 
 The reply here omits the "full of" included in the question, and 
 accepts it as if it had been ' thy looks have speed in them ' ; thus con- 
 sisting well with the hurry of the speaker. 
 
 Have you laid fair the bed ? are all things well, 
 According as I gave directions ? — 
 'Tis, my good lord. — 2 H. VI., iii. 2. 
 
 Here, although the question is put in the plural, the reply is given in 
 the singular; implying, ' 'tis done,' ' all that you have ordered is per- 
 formed.' 
 
 In any case, be not too rough in terms ; 
 
 For he is fierce, and cannot brook hard language. — 
 
 I will, my lord. — Ibid., iv. g. 
 
 In this case, ' not be too rough ' is elliptically understood after " I 
 will." 
 
524 THE SHAKESPEARE KEY. 
 
 Tell me, my friend, art thou the man that slew him ? — 
 / was, an 't like your majesty. — 2 H. VI., v. i. 
 
 Instead of the usual ' I am,' Iden answers, " I was," to signify ' it 
 was I that slew him.' 
 
 You forget 
 That we are those which chas'd you from the field, 
 And slew your fathers, and with colours spread 
 March'd through the city to the palace-gates. — 
 Yes, Warwick, I remember it to my grief. — 3 H. VI., i. i. 
 
 Here "yes" implies 'yes, I do ' ; and forms the reply to "you 
 forget," as if that were equivalent to 'you do not remember.' 
 No, Warwick, no ; while life upholds this arm. 
 This arm upholds the house of Lancaster. — 
 And I the house of York. — Ibid., iii. 3. 
 
 To have preserved literal consistency of phraseology, " And I," might 
 here have been ' And mine.' 
 
 The packet, Cromwell, gave it you the king ? — 
 To his own hand, in his bedchamber. — 
 Look'd he 0' th' inside of the paper ? — 
 
 Presently 
 He did unseal them : and the first he view'd. 
 He did it with a serious mind. — H. VIII., iii. 2. 
 
 Here "them" is used as if the questions implied 'the contents of 
 the " packet " or " paper." ' 
 
 Would we were all discharged. — 
 
 I fear it. — Timon, ii. 2. 
 
 Here "discharged" means 'paid' ('that all our debts were dis- 
 charged ') ; and " I fear it " implies, ' I fear that we shall not be paid ' 
 (' have our debts discharged '). 
 
 Caesar, thou canst not die by traitors' hands. 
 Unless thou bring'st them with thee. — 
 
 So I hope.— Jul. C, V. I. 
 
 This reply signifies, ' I hope not to die by traitors' hands.' 
 
 Of Albany's and Cornwall's powers jioii heard not? — 
 T/i so, they are a-foot. — Lear, iv. 3. 
 
 Here " 'tis so " implies, ' yes, I did hear of them, and it is as was 
 rumoured,' ' it is just as we expected.' 
 
 Save you, worthy general ! — 
 
 With all my heart, sir. — 0th., iv. i. 
 
 ' I thank you ' is elliptically understood before ' with all my heart.' 
 {See Mode of Address or Salutation.] 
 
 What shall be said to thee ? 
 
 Why, anything : 
 An honourable murderer, if you will. — Ibid., v. 2. 
 
 In accordance with usual phraseology, the word " to," in the 
 question, might be ' of. ' 
 
 Whence are you ? — 
 A poor Egyptian yet. — Ant. &> C, v. i. 
 
 The answer implies, ' I come from Egypt; and as yet I have been no 
 more than a poor Egyptian, though now no less than a messenger from 
 Egypt's queen to Octavius Ceesar.' 
 
PECULIAR REPLIES. 525 
 
 / came unto your court for honour's cause. 
 
 And not to be a rebel to her state ; 
 
 And he that otherwise accounts of me, 
 
 This sword shall prove he 's honour's enemy. — 
 
 No ! here comes my daughter, she can witness it. — Per., ii. 5. 
 
 The reply signifies, ' she can witness that you are a traitor, as I have 
 said you are.' 
 
 Shakespeare occasionally introduces retorts where a somewhat similar 
 word is used : — 
 
 Where is my lady ? — 
 
 Here ; what would my lord ? — Her. of V., ii. g. 
 
 Save you, fair queen. — 
 
 And you, monarch. — 
 
 No. — And no. — AlVs W., i. i. 
 
 Hail, royal prince ! — 
 
 Thanks, noble peer. — R. II., v. 5. 
 
 But, hear you,, my lord. — 
 
 What say'st thou, my lady ? — i H. IV., ii. 3. 
 
 My lord the prince, — 
 
 How now, my lady the hostess ! — Ibid., ii. 4. 
 Who am I, sir ? — My lady's father. — My lady's father ! my lord's knave. — Lear, i. 4. 
 Sir, sir, — Yes, my lord, yes. — Ant. &• C, iii. 9. 
 What 's your lordship's pleasure ? — Your lady's person. — Cytn., ii. 3. 
 O, my all-worthy lord ! — All-worthy villain ! — Ibid., iii. 5. 
 
 Sometimes he introduces a half-scornful rejoinder in the form of an 
 inquiry : — 
 
 Thanks, i' faith ; for silence is only commendable 
 
 In a neat's tongue dried, and a maid not vendible. — 
 
 Is that anything now ? * — Mer. of V., i. i. 
 
 To tell you where he lodges, is to tell you where I lie. — 
 
 Can anything be made of this ? — 0th., iii. 4. 
 
 He sometimes uses a form of rejoinder that draws attention to a 
 purposed obscurity of style in the question [See Dramatic Laws and 
 Art] : — 
 
 / understand you not ; my griefs are dull. — Love's L. L., v. 2. 
 How blow ? how blow ? speak to be understood. — Ibid., v. 2. 
 
 He not unfrequently has a word used in one sense, and replied to as 
 if it were used in another sense : — 
 
 How cam'st thou in this pickle F' mess '] ? — 
 
 I have been in such a pickle [' brine ']...! shall not fear fly-blowing. — Temp., v. i. 
 So, by your circumstance ['argumentative statement'], you call me fool. — So, by 
 your circumstance [' actual state or condition '], I fear you '11 prove. — Two G. of V., i. i. 
 The music likes [' pleases '] you not. — 
 
 You mistake ; the musician likes [' loves '] me not. — Ibid., iv. 2. 
 I have a brother is condemn' d [' doomed ' or ' sentenced '] to die. . . . 
 Why, every fault 's condemn'd [' censured '] ere it be done. — M.for M., ii. 2. 
 What a plague mean ye to colt [' cheat,' ' trick,' ' deceive '] me thus ? — Thou liest ; 
 thou art not cotterf [' provided with a horse or colt'], thou art uncoiled ['deprived of 
 thy horse ']. — i H. IV., ii. 2. 
 
 * The Folio prints this, ' It is that any thing now' : but the very similar phrase in 
 " Othello " (above quoted) makes it probable that Shakespeare intended to write, 
 " Is that anything now ? " 
 
526 THE SHAKESPEARE KEY. 
 
 And therein you are senseless [' unconscious,' ' purposely without perception ']. — 
 Senseless [' devoid of sense,' ' stupid '] ! not so. — Cym., ii. 3. 
 
 In the following passage he uses a form of question in a peculiar 
 manner : — 
 
 Will you be gone ['Are you going'] ? — CorioL, iv. 2. 
 
 PECULIAR USE OF WORDS.* 
 
 Shakespeare often uses words with peculiar force of meaning, and 
 sometimes in a sense not ordinarily assigned. It is requisite to bear 
 this in mind when judging certain passages that present some difficulty 
 of interpretation, if his practice in this respect be not remembered; and 
 frequently, by observing how he employs a word in one instance, it 
 will aid in denoting how he similarly employs it in another, where 
 perhaps the whole signification of the phrase is less obvious. In some 
 cases, he uses words in a sense that they bore when he wrote, but 
 which they have since lost; in others, he uses words in the sense they 
 strictly bear as derived from classical original sources ; and, in others, 
 with a degree of latitude in signification, as indirectly pertaining to 
 them. But, in every case, as it appears to us, he uses words with 
 expressive and effective power. 
 
 Being all this time abandoned [' banished,' ' interdicted '] from your bed. — 
 Tarn, of S., Indue. 2. 
 If she be so abandon'd [' given up,' ' given over '] to her sorrow. — Tw. N., i. 4. 
 
 long and tedious night ! abate [' curtail,' ' diminish '] thy hours. — Mid.N. D., iii. 2. 
 Abate ['suppressing,' ' leaving out,' 'excepting'] throw at novum. — Love'sL.L.,v.2. 
 Which once in him abated [' reduced to lower temper,' ' let down ']. — 2 H. IV., i. i. 
 Abate [' blunt,' ' put down,' ' repress,' ' subdue,' ' lower,' ' depress ' ; and ' diminish,' 
 
 ' make fewer,' ' lessen the number of.' See Varied Meanings, &c., for instances of 
 Shakespeare's thus including many senses in one expressive word] the edge of traitors, 
 gracious Lord. — R. III., v. 4. 
 
 Deliver you as most abated [' depressed,' ' subdued,' ' cast down,' ' dispirited '] 
 captives. — CorioL, iii. 3. 
 
 Let no man abide ['endure the consequence of,' 'incur the penalty of] this 
 deed. — yul. C, iii. i. 
 
 We are the queen's abjects [' lowest of subjects ']. — R. III., i. i. 
 
 1 say, none ; I '11 able [' empower'] 'em. — Lear, iv. 6. 
 
 The night-crow cried, aboding ['foreboding,' 'presaging'] luckless time.— 
 3 H. VI., V. 6. 
 
 Be absolute [' firm,' ' decided '] for death.— JW. /or M., iii. i. 
 
 I am absolute [' certain,' 'positive,' ' decided '] 'twas very Cloten.— Cvhi., iv. 2. 
 
 As just, as absolute [' complete in excellence,' ' accomplished in merit '] as Angelo.— 
 M. for M., V. I. 
 
 Contends in skill with absolute ['fully accomplished,' 'completely excellent'] 
 Marina. — Per., iv. (Gower). 
 
 I am mightily abus'd [' confused,' ' bewildered,' ' perplexed with false illusions '].— 
 Lear, iv. 7. 
 
 Then Edgar was abus'd [' maligned,' ' calumniated '].— /iid., iii. 7. 
 
 ■* It is to be observed that we here give to several of Shakespeare's words— in many 
 cases— more varied and quite different significations from those given by other 
 glossarists and commentators. 
 
PECULIAR USE OF WORDS. 527 
 
 Do not abuse [' deceive,' ' mislead,' ' delude '] me.— Lear, iv. 7. 
 The Moor 's abns'd [' deceived,' ' misled '] by some. — 0th., iv. 2. 
 You are a great deal abus'd [' deceived '] in too bold.— C^w;., i. 5. 
 My master is abus'd [' deluded,' ' beguiled']. — Ibid., iii. 4. 
 Enforcement shall acquittance [' acquit '] me from all. — R. III., iii. 7. 
 And think it no addition [' advantageous circumstance ']. — 0th., iii. 4. 
 With swinish phrase soil our addition [' title '].— Hamlet, i. 4. 
 All the additions ['titles belonging'] to a king. — Lear, i. i. 
 Where great additions [' titles '] swell— All's W., ii. 3. 
 
 Beasts of their particular additions [' titles to distinction ']. — Tr. <&> Cr., i. 2. 
 Address [' prepare,' ' apply '] yourself to entertain them.— W^. T., iv. 3. 
 Were all addressed f prepared'] to meet you. — Love's L. L., ii. i. 
 Nor time nor place did then adhere [' cohere,' ' suit']. — Macb., i. 7. 
 Why, everything adheres [' coheres,' ' consists,' ' suits '] together. — Tiv. N.. iii. 4. 
 To whom he more adheres [' is attached ']. — Hamlet, ii. 2. 
 That admiration [' wonder,' ' amazement '] did whoop at them. — H. V., ii. 2. 
 At this encounter do so much admire [' wonder ']. — Temp., v. i. 
 Nor admire [' wonder,' ' marvel '] not in thy mind. — Tw. N., iii. 4. 
 With most admir'd [' wondered at,' ' wonderful,' ' marvellous ' ] disorder. — Macb., iii. 4. 
 That is an advertisement [' warning'] to a proper maid in Florence. — All's W., iv. 3. 
 This advertisement [' notice,' ' warning,' ' intelligence '] is five days old. — i H. IV., iii. 2. 
 Never did lack advice [' reflection,' 'consideration'], so much. — All's W., iii. 4. 
 So hot a speed with such advice [' consideration,' ' deliberation '] dispos'd. — 
 yohn, iii. 4. 
 
 Advise ['bethink,' 'reflect,' 'take heed,' 'be careful'] you what you say. — 
 Tw. N., iv. 2. 
 Were you well advised [' bethought,' ' considered'] ? — Love's L. L., v. 2. 
 
 I will advise [' inform '] you where to plant. — Macb., iii. i. 
 
 The French, advised ['informed'] by good intelligence. — H. V., ii. (Chorus). 
 
 You were advised [' aware '] his flesh was. — 2 H. IV., i. i. 
 
 He does neither affect [' like,' ' have inclination for '] company. — Timon, i. 2. 
 
 I am in all affected [' inclined,' ' disposed '] as yourself. — Tarn, of S., i. i. 
 
 For affection [' constitutional tendency or impulse,' ' innate disposition or inclina- 
 tion '], master of passion. — Mer. of V., iv. i. 
 
 The appetite and affection ['constitutional tendency'] common of the whole body. — 
 Coriol., i. I. 
 
 Seem all affin'd [' united by affinity '] and kin. — Tr. &• Cr., i. 3. 
 
 In any just term am affin'd [' bound by any due claim of affinity '] to love the Moor. — 
 0th., i. I. 
 
 If partially affin'd ['swayed by any link of affinity'], or leagu'd in office. — 
 Ibid., ii. 3. 
 
 Her picture, affront ['confront,' 'meet'] his eye. — W. T., v. i. 
 
 May here affront [' confront,' ' encounter,' ' meet '] Ophelia. — Hamlet, iii. i. 
 
 Your preparation can affront [' confront'] no less. — Cym., iv. 3. 
 
 Gave the affront [' encounter,' ' confronting,' ' meeting in attack '] with them. — 
 Ibid., V. 3. 
 
 Might be affronted [' confronted,' ' met,' ' matched '] with the match and weight of 
 such.— Tr. &■ Cr., iii. 2. 
 
 Fearing lest my jealous aim [' suspicion '] might err. — Two G. of V., iii. i. 
 
 I have some aim [' guess,' ' surmise,' ' conjecture ']. — yul. C, i. 2. 
 
 I aimed [' guessed '] so near, when I suppos'd. — R. &■ Jul., i. i. 
 
 That will allow [' approve,' ' prove '] me very worth.— Tzw. N., i. 2. 
 
 Allow [' approve '] us as we prove. — Tr. <&• Cr., iii. 2. 
 
528 THE SHAKESPEARE KEY. 
 
 In your allowance [' estimation,' ' admission '], o'erweigh. — Hamlet, ii. 2. 
 
 Put it on by your allowance [' approval,' ' sanction ']. — Lear, i. 4. 
 
 Generally allowed [' approved '] for your many. — Merry W., ii. 2. 
 
 To her allowing [' approving,' ' sanctioning '] husband. — W. T., i. 2. 
 
 His roguish madness allows [' lends,' ' adapts '] itself to anything. — Lear, iii. 7. 
 
 You do amaze ['bewilder,' 'confuse'] her. — Merry W., v. 5. 
 
 Lest your retirement do amaze [' throw into confusion '] your friends — i H. IV., v. 4. 
 
 For I was amaz'd ['bewildered,' ' confounded'] under the tide. — John, iv. 2. 
 
 I am amaz'd ['confused,' 'perplexed,' 'bewildered'], methinks. — Ibid., iv. 3. 
 
 More amaz'd ['confounded,' 'overpowered'] than had I seen. — Ibid., v. 2. 
 
 I am amaz'd [' bewildered,' ' perplexed '] with matter. — Cym., iv. 3. 
 
 That fell anatomy ['skeleton'] which cannot hear. — John, iii. 4. 
 
 A mere anatomy [' skeleton '], a mountebank. — Com. of E., v. i. 
 
 I'll eat the rest of the anatomy ['body,' 'corporeal frame']. — Tw. N., iii. 2. 
 
 In what vile part of this anatomy [' body'] doth. — R. &• Jul., iii. 3. 
 
 Let 's, then, determine with the ancient [' experienced.' See Elder for examples of 
 the mode in which Shakespeare uses that word, as we think he here uses the word 
 " ancient "] of war on our proceedings. — Lear, v. i. 
 
 Arrest them to the answer [' retributive justice '] of the law. — H. V., ii. 2. 
 
 Great the answer [' reprisal,' ' retaliation '] be the Britons must take. — Cym., v. 3. 
 
 Than to answer [^ sustain,' 'endure,' ' bear the penalty '] with thy uncovered body 
 this extremity. — Lear, iii. 4. 
 
 How can her contempt be answcr'd ['excused,' 'extenuated,' 'explained']. — 
 Cym., iii. 5. 
 
 Nature, drawing of an antic [' a grotesque figure,' ' a distorted form'], made a foul 
 blot. — M. Ado, iii. i. 
 
 Pageant, or antic ['grotesque exhibition'], or firework. . . . We will have, if this 
 fadge not, an antic. — Love's L. L., v. i. 
 
 Three such OKizcs ['grotesque figures'] do not amount. — H. V., iii. 2. 
 
 Wherein of antres [' caverns ' : Latin, antrum] vast and deserts idle, rough. — 0th., i. 3. 
 
 It is apparent [' evident,' ' obvious '] foul play. — John, iv. 2. 
 
 These apparent [' manifest,' 'visible,' ' evident'] prodigies. — Jul. C, ii. i. 
 
 Scorn me so apparently ['openly,' ' evidently']. - Com. of E., iv. i. 
 
 The boisterous late appeal [' accusation']. — R. II., i. i. 
 
 To appeal [' accuse'] each other of high treason. — Ibid., i. 1. 
 
 Upon his own appeal [' accusation '], seizes him. — Ant. <&> C, iii. 5. 
 
 As for the rest appeaVd [' accused,' ' alleged,' ' charged,' ' made the subject of 
 appeal']. — R. II.,\. i. 
 
 Your favour is well appeared [' made to appear,' ' manifested,' ' shown '] by your 
 tongue. — Coriol., iv. 3. 
 
 This youth, howe'er distress'd, appears [' shows,' ' makes manifest '] he hath had 
 good ancestors. — Cym., iv, 2. 
 
 Philosophy will I apply ['ply,' 'practise diligently,' ' apply the mind to'].— 
 Tam. of S., i. i. 
 
 Nestor shall apply [' apply to additional instances,' ' demonstrate by farther illus- 
 tration '] thy latest words. — Tr. & Cr., i. 3. 
 
 So unsettled, to appoint [' point out for blame,' ' mark out for censure,' ' stigmatise,' 
 ' asperse ' ] myself in this vexation. — W. T., i. 2. 
 
 My care to have you royally appointed [' accoutred,' ' equipped ']. — Ibid., iv. 3. 
 
 A pirate of very warlike appointment [' accoutrement,' ' equipment '] gave us chase. — 
 Hamlet, iv. 5 {Letter). 
 
 Your best appointment [' equipment for a voyage,' also implying ' spiritual preparation 
 and supplyment'] make with speed. — M.for M., iii. i. 
 
PECULIAR USE OF WORDS. 529 
 
 How long have you professed apfrehension [' quick-wittedness,' ' intellectual smart- 
 ness 'J ?— M. Ado, iii. 4. 
 
 How such an apprehension [' conception,' ' construed belief] may turn the tide of 
 fearful faction. — i H.IV., iy. i. 
 
 Took from you the apprehension [' appreciation,' ' perception '] of his present 
 portance. — Coriol., ii. 3. 
 
 Whose apprehensive [' fastidiously perceiving,' ' squeamishly observant '] senses all 
 but new things disdain. — All's W., i. 2. 
 
 Makes it apprehensive [' intellectually ready,' ' prompt to perceive and understand '] 
 quick. — 2 H. IV., iv. 3. 
 
 And men are flesh and blood, and apprehensive [' capable of comprehending,' pos- 
 sessed of intelligence']. — jful. C, iii. i. 
 
 Task me to my word ; approve [' prove '] me, lord. — i H. IV., iv. i. 
 I shall not fail to approve [' confirm '] the fair conceit 
 The king hath of you.— H. VIII., ii. 3. 
 
 Does approve [' testify,' ' prove,'] by his lov'd mansionry. — Macb., i. 6. 
 
 He may approve [' confirm the witness of,' ' add proof to the testimony of] our eyes, 
 and speak to it. — Hamlet, i. i. 
 
 Thou dost approve [' attest,' ' prove '] thyself the. — Cym., iv. 2. 
 
 Which must approve [' prove,' ' attest '] thee honest. — Ibid., v. 5. 
 
 That which well approves [' proves,' 'testifies'] you're great. — All's W., iii. 7. 
 
 Which approves [' proves '] him an intelligent party. — Lear, iii. 5. 
 
 He approves [' proves true,' ' confirms '] the common. — Ant. Sy C, i. i. 
 
 He that is approv'd [' proved to be '] in this offence. — 0th., ii. 3. 
 
 I have well approv'd [' proved '] it, sir.— r/iid., ii. 3. 
 
 Make known to their approvers [' provers,' ' testers ' ; ' those who put them to the 
 proof] they are people such. — Cym., ii. 4. 
 
 I, most jocund, apt ['ready' 'prompt'], and willingly. — Tw. N., v. i. 
 
 I am most apt [' ready,' ' willing'] to embrace your offer. — Ibid., 'v. i. 
 
 Not find myself so apt [' ready,' ' thoroughly disposed,' 'willing'] to die. — Jul. C, iii. i. 
 
 A heart as little apt ' [' pliant,' ' inclinable,' ' accommodating,' ' conformable '] as 
 yours. — Coriol., iii. 2. 
 
 She is young and apt [' easily led,' ' pliant,' ' facile ']. — Timon, i. i. 
 
 So kind, so apt [' compliant,' ' ready to confer a benefit'], so blessed a disposition 
 — 0th., ii. 3. 
 
 My worthy arch ['chief'] and patron. — Lear, ii. i. 
 
 * The word " apt " has been suspected of error in this passage ; but if the mode in 
 which Shakespeare employs the word " apt " in the other passages we have here 
 cited be observed, we think it will be perceived that " apt " is right, and bears the 
 meaning we assign — a meaning included among those borne by the Latin word aptus. 
 It may be expedient here to mention (in reference to " antres," " apt," " contrive," &c., 
 cited under the present heading) that we had originally written a heading entitled 
 " Classically Derived Words," which minutely discussed Shakespeare's employ- 
 ment of such words. It showed that his use of them with their strickly primitive 
 sense in reference to their classical derivation clearly demonstrates the injustice (not 
 unfrequently committed by former commentators) of attributing to him a deficiency 
 of knowledge in the classical languages ; and showed, on the contrary, that he 
 possessed a very accurate acquaintance with the sources whence many English terms 
 are derived. We cancelled that heading, from a desire to condense the present book ; 
 but we now draw attention to such words as " accite," " agnise," " artificial," 
 "aspersion," "cadent," "concent," "conduce," "consist," "crescive," "crisp," 
 " dissemble," " erring," " expostulate," " extracting," " extravagant," " fact," 
 " gests," " impose," " imposition," " indign," injury," " lin'd," " lineaments," 
 " plants," " prevent," " remotion," " speculation," " stomach," " verbal," " virtue," 
 &c., as proofs of our assertion. 
 
 2 M 
 
53° THE SHAKESPEARE KEY. 
 
 For bearing, argument ['powers of conversation '], and valour. — M. Ado, iii. i. 
 
 Much like an argument [' animated conversation,' ' controversy '] that fell out last 
 night. — Cym., i. 5. 
 
 Imports the argument [' subject '] of the play. — Hamlet, iii. 2. 
 
 The argument [' subject,' ' theme '1 of your praise. — Lear, i. i. 
 
 Prove a notable argument [' subject for raillery'] — M. Ado, i. i. 
 
 You would not malce me such an ny^«»!enf [' subject for mockery']. — Mid.N.D., iii. 2. 
 
 Sheath'd their swords for lack oi argument [' subject for contest ']. — H. V., iii. i. 
 
 Look you arm [' prepare '] yourself to fit your fancies. — Mid. N. D., i. i. 
 
 Arm [■' prepare '] you, I pray you, to this speedy voyage. — Hamlet, iii. 3. 
 
 Those pleasures live that art [' acquired knowledge,' ' learning '] would comprehend. — 
 Love's L.L., iv. 2 (Letter). 
 
 I have as much of this in art [' studied philosophy,' ' acquired reasoning '] as you- 
 but yet my nature. — ful. C, iv. 3. 
 
 More matter, with less art [' ingenuity in word- twisting,' ' dexterity of language '] - 
 ... I use no art at all. ... I will use no art. — Hamlet, ii. 2. 
 
 On objects, arts ['artful practices,' 'dexterities in scheming'], and imitations. — 
 yttl. C, iv. I. 
 
 With whom we may articulate [' enter into articles 'J. — Coriol., i. 9. 
 
 These things, indeed, you have articulated [' set forth in articles ']. — i H. IV., v. i. 
 
 Did you assay [' endeavour to win '] him to any pastime ? — Hamlet, iii. i. 
 
 By no assay [' test,' ' trial '] of reason. — 0th., i. 3. 
 
 He it is that hath assum'd [' acquired,' ' attained,' ' reached,' ' summed up '] unto this 
 age. — Cym., v. 5. 
 
 May astonish [' confound,' ' stun '] these fell lurking curs. — 2 H. VI., v. i. 
 
 You have astonished [' stunned,' ' confounded '] him. — H. V., v. i. 
 
 Every man attach ['take hold of] the hand of his fair mistress. — Love's L. Z/.,iv. 3. 
 
 Or \'\\ attach [' seize,' ' arrest '] you by this officer. — Com. of E.,i-v. i. 
 
 Hath attach'd [' seized,' ' taken possession of] our merchants' goods at Bordeaux. — 
 H. VIII., i. I. 
 
 Who am myseli attach'd ['seized, 'overcome'] with weariness. — Temp., iii. 3. 
 
 I had thought weariness durst not have attached [' seized upon,' ' taken possession 
 of,' ' laid hold of] one of so high blood. — 2 H. IV., ii. 2. 
 
 May worthy Troilus be half attach'd [' possessed,' ' overcome or overpowered '] with 
 that which here. — Tr. &• Cr., v. 2. 
 
 Give as soft attachment ['seizure,' 'holding in repose'] to thy senses. — Ibid., iv. 2. 
 
 When earthly things made even atone [' accord,' ' agree,' ' combine,' ' unite,' ' are at 
 one'] together. — As You L., v. 4. 
 
 He and Aufidius can no more atone [' be of one mind,' ' accord,' ' agree '] than 
 violentest contrariety. — Coriol., iv. 6. 
 
 Since we cannot atone [' reconcile,' ' make agree or accord '] you, we shall see. — 
 R. II., i. I. 
 
 To atone [' reconcile '] your fears with my. — Timon, v. 5. 
 
 The present need speaks to atone [' reconcile '] you. — Ant, &• C, ii. 2. 
 
 Glad I did atone [' reconcile '] my countryman and you.— Cym., i. 5. 
 
 He desires to make atonement [' reconciliation '] between. — R. III., i. 3. 
 
 But freshly looks, and overbears attaint [' weariness,' ' depression '] with cheerful 
 semblance. — H. V., iv. (Chorus). 
 I am attended [' awaited,' ' expected '] at the cypress grove. — Coriol., i. 10. 
 
 Attends [' awaits,' ' expects '] thee at the orchard end. — Tw. N., iii. 4. 
 Much attribute [' attributed merit'] he hath. — Tr. &• Cr., ii. 3. 
 That is attributive [' attributive of merit,' ' ascriptive of merit ' : in both the present 
 and the previous passage ' merit ' is involved in the word " attribute " and " attribu- 
 tive "]. — Ibid., ii. 2. 
 
PECULIAR USE OF WORDS. 531 
 
 To give her the avaunt [' dismissal,' ' discarding'] ! — H. VIII., ii. 3. 
 Averring [' confirmatory,' ' evidential '] notes of. — Cym., v. 5. 
 
 Thrust from the company of awful [' respectable,' ' law-respecting,' ' order- 
 reverencing '] men. — Two G: of V., iv. i. 
 
 An awful [' lawful,' ' legitimately authorised '] rule, and right supremacy. — 
 Tarn, of S., v. 2. 
 
 We come within our awful ['lawfully appointed,' 'just,' 'rightful'] banks again. — 
 2 H. IV., iv. I. 
 
 That will prove awful [' worthy of respect,' and ' lawful in conduct'] both in deed 
 and word — Per., ii. (Gower). 
 
 No sinister nor no awkward [' distorted,' ' perverted,' ' indirect '] claim. — H. V., i. 2. 
 
 Twice by awkward [' contrary,' ' unpropitious,' ' adverse '] wind from England's 
 bank. — 2 H. VI., iii. 2. 
 
 To the world and awkward [' adverse,' ' unpropitious,' ' untoward,' ' calamitous '] 
 casualties. — Per., v. i. 
 
 Protest me the baby [' doll '] of a girl. — Macb., iii. 4. 
 
 Here ye lie baiting of [' swilling refreshment from,' ' taking a draught from.' In 
 support of our interpretation of the word "baiting," we cite from Beaumont and 
 Fletcher's " Scornful Lady," act ii., sc. 2 : "If you grow dry before you end your 
 business, pray take a bait here; I have a fresh hogshead for you."] bombards. — 
 H. VIII., V. 3. 
 
 Balk ['wrangle,' 'altercate,' 'bandy,' 'interchange': "balk logic" was formerly 
 used as we now use 'chop logic'] logic with. — Tarn. ofS., i. i. 
 
 Knights balk'd [' heaped up,' ' piled in heaps ' : 'a balk ' was a ridge of land or 
 bank of earth, laid up between two furrows; and ' to balk' was to throw up the earth 
 so as to form these ridges, banks, or heaps] in their own blood. — i H. IV., i. i. 
 
 As my farthest band[' bond '] shall pass. — Ant. &• C, iii. 2. 
 
 Release me from my bands [' bonds '] with. — Temp. (Epilogue). 
 
 To be so bared [' shaved '] before his death. — M. for M., iv. 2. 
 
 Or the baring [' shaving'] of my beard. — All's W., iv. i. 
 
 Each battle [' main body of an army,' ' collective embattled force '] sees the other's 
 umber'd face. — H. V., iv. [Chorus). 
 
 The king himself is rode to view their battle [' embattled force ']. — Ibid., iv. 3. 
 
 Their battles [' battalions,' ' embattled forces '] are at hand.^ywZ. C, v. i. 
 
 I '11 rent the fairest house in it after three-pence a bay [' architectural portion of a 
 building : ' it is as if the Clown said, ' at the rate of three-pence per floor or story,' ' at 
 the rate of three-pence per window-range ']. — il. for M., ii. i. 
 
 A dog, and bay [' pertinaciously or harassingly bark at '] the moon . . . bay not 
 me. — jful. C, iv. 3. 
 
 Here wast thou bay'd [' chased barkingly and brought to bay.' See Varied 
 Meanings, &c.], brave hart ; here didst thou fall. — Ibid., iii. i. 
 
 They bay'd [' chased and brought to bay,' ' hunted with pertinacious barking '] the 
 bear with hounds. — Mid. N.'D., iv. i. 
 
 Waving his beam [' lance '] upon the. — Tr. &• Cr., v. 5. 
 
 It must not bear [' achieve,' ' obtain,' ' bear off.' See " Carry " thus used, under the 
 present heading] my daughter. — Timon, i. i. 
 
 With more facile question bear [' win,' ' achieve,' ' carry,' ' prevail'] it. — 0th., i. 3, 
 
 I will beard ['defy,' ' confront'] him. — i H. IV., iv. i. 
 
 Am I dar'd, and bearded [' defied '] to my face. — i H. VI., i. 3. 
 
 Was beastly ['in a beast-like manner'] dumb'd. — Ant. &• C, i. 5. 
 
 We are beastly [' beast-like,' ' like animals ']. — Cym., iii. 3. 
 
 Which you shun beastly ['like beasts']. — Ibid., v. 3. 
 
 Thine eyes and thoughts beat [' are longingly bent,' ' are anxiously fixed '] on a 
 crown, the treasure of thy heart. — 2 H. VI., ii. i. 
 
 2 M 2 
 
532 THE SHAKESPEARE KEY. 
 
 A turn or two I '11 walk, to still my beating [' anxiously throbbing,' ' intently 
 occupied '] mind. — Temp., iv. i. 
 
 Do not infest your mind with beating [' anxiously dwelling,' ' intently occupying '], 
 on -the strangeness. — Ibid., v. i. 
 
 Speak fair, become [' render becoming,' ' give some grace to '] disloyalty. — 
 Com. of E., iii. 2. 
 
 As those two eyes become [' adorn,' ' set off,' ' grace,' ' give loveliness to '] that 
 heavenly face ? — Tarn, of S., iv. 5. 
 
 When he intendeth to become [' grace,' 'adorn,' 'embellish virith his presence'] the 
 field. — John, v. i. 
 
 That integrity which should become [ ' becomingly adorn,' ' befittingly invest 'J it. — 
 Coriol., iii. I. 
 
 How this Herculean Roman does become ['render becoming'] the carriage of his 
 chafe. — Ant. &• C, i 3. 
 
 For vilest things become ['appear becoming,' 'become becoming'] themselves in 
 her. — Ibid., ii. 2. 
 
 It well becomes [' adorns,' ' graces,' ' sets off,' ' ornaments,' ' embellishes '] the 
 ground. — As You L., iii. 2. 
 
 As I am a soldier, a name that, in my thoughts, becomes [' adorns,' ' graces '] me 
 best.— H. v., iii. 3. 
 
 Observe how Antony becomes [' makes becoming,' ' suffers to befit him,' ' sustains 
 appropriately '] his flaw. — Ant. &■ C, iii. 10. 
 
 Pisa . . . gave me my being [' existence,' 'birth']. — Tam. ofS., i. i. 
 To shift his being ['abode,' 'place and mode of existence'], is to exchange one 
 misery with another.^C^m., i. 6. 
 
 That men of few words are the best [' bravest '] men. — H. V., iii. 2. 
 Do your best [' highest,' ' divinest '] wills, and make me. — Cym., v. i. 
 How should I bestow [' place,' ' put,' ' stow away'] him ? — Merry W., iv. 2. 
 Bestow [' place in order,' ' range '] yourself with speed.— H. V., iv. 3. 
 And so bestow [' place,' ' put,' ' dispose'] these papers. — yul. C, i. 3. 
 In heedfuU'st reservation to bestow ['lay by,' 'put away,' 'place in security,' 
 ' treasure up,'"' carefully keep '] them.— All's W., i. 3. 
 
 How might we see Falstaff bestow ['behave,' 'comport'] himself to-night in his 
 true colours. — 2 H. IV., ii. 2, 
 
 Of female favour, and bestows [' comports,' ' behaves,' ' demeans '] himself like a ripe 
 sister. — As You L., iv. 3. 
 
 In what safe place you have bestow' d [' stowed away,' ' deposited in safety '] my 
 money? — Com. of E., i. 2. 
 
 Our bloody cousins are bestow'd [' placed,' ' refuged '] in England, and in Ireland. — 
 Macb., iii. i. 
 
 All my powers do their bestowing [' governance,' ' due conduct,' ' proper manage- 
 ment,' ' fit control '] lose.— Tr. 6- Cr., iii. 2. 
 
 When I first my wedded mistress saw bestride* [' pass over,' ' cross over.' See 
 " Stride " thus used under the present heading] my threshold. — Coriol., iv. 5. 
 
 I am bid [' invited'] forth to supper ... I am not bid for love. — Mer. of V. ii. 5. 
 I will bid [' invite '] the duke to the nuptial . . . bid your friends. — As You L., v. 2 
 Provide the feast, father, and bid [' invite '] the guests.— Tam. of S., ii. i. 
 I '11 lead you to some biding [' dwelling,' ' place for rest and shelter,' ' place where 
 you may bide']. — Lear, iv. 6. 
 
 My mind hath been as big ['swelling,' 'haughty,' 'unbending,' 'unsubmissive'] as 
 one of yours. — Tam. of S., v. 2. 
 
 * The word is here used without its usual sense of ' step across ' ; since a Roman 
 bride was borne over her husband's threshold, that she might not so much as touch it 
 in passing. 
 
PECULIAR USE OF WORDS. 533 
 
 It will wear the surplice of humility over the black gown of a big [' proud,' ' arrogant,' 
 ' haughty'] heart. — All's W., i. 3. 
 
 I mock at death with as big [' haughty,' ' unbending,' ' unflinching,' ' unyielding '] 
 heart as thou. — Coriol., iii. 2. 
 
 To repay that money will be a biting [' keen,' ' sore '] affliction. — Merry W., v. 5. 
 
 Lie not guiltless here under some biting [' keenly piercing,' ' acutely painful,' ' sorely 
 distressing 'J error. — .1/. Ado, iv. i. 
 
 We 're nail'd for our advantage on the bitter [' cruel,' ' barbarous,' ' agonising '] 
 cross. — I H.IV., i. i. 
 
 The bitter [' cruel,' ' unrelenting,' ' inexorable '] disposition of the time will have it 
 so. — Tr. &• Cr., iv. i. 
 
 And do such bitter' [' cruel,' ' deadly,' ' fatal,' ' inexorable '] business as the day 
 would quake to look on. — Hamlet, iii. 2. 
 
 Bitter [' cruel,' ' agonising,' ' deadly '] torture shall winnow the truth from false- 
 hood. — Cym., V. 5. 
 
 Out of the blank [' mark,' ' point whereat to aim '] and level of my brain. — 
 W. T., ii. 3. 
 
 As level as the cannon to his blank [' mark ']. — Hamlet, iv. i. 
 
 Stood within the blank [' mark,' ' aim-point '] of his displeasure. — 0th., iii. 4. 
 
 Muffle your false love with some show of blindness ['concealment']. — Com. 
 of E., iii. 2. 
 
 The fashion of his hat ; it ever changes with the next block [' mould,' ' form,' 
 ' shape ']. — M. Ado, i.i. 
 
 More than the common blocks [in allusion to the moulds used for shaping hats upon : 
 ' hat-heads,' ' block-heads ']. — W. T., i. 2. 
 
 This' a good block ['hat,' ' well-shaped hat ']. — Lear, iv. 6. 
 
 It better fits my blood [' disposition '] to be disdained. — M. Ado, i. 3. 
 
 Against whose charms faith melteth into blood [' impulsive affection,' ' passionate 
 love ']. — Ibid., ii. i. 
 
 Let thy blood [' passions,' ' ungoverned impulses '] be thy direction till thy death. — 
 Tr. &■ Cr., ii. 3. 
 
 Strange unusual blood ['disposition,' ' propensity,' inclination '], when man's worst 
 sin is, he does too much good ! — Timon, iv. 2. 
 
 Excitements of ray reason and my blood ['passions'], and let all sleep? — 
 Hamlet, iv. 4. 
 
 Though the conflict be sore between that and my blood ['natural affection']. — 
 Lear, iii. 5. 
 
 Were 't my fitness to let these hands obey my blood [' natural impulse,' ' prompting 
 of passion ']. — Ibid., iv. 2. 
 
 Or did the letters work upon his blood ['passions'], and new-create this fault? — 
 0th., iv. I. 
 
 I know young bloods [' temperaments '] look for a time of rest. — y«/. C, iv. 3. 
 
 Our bloods [' constitutional impressions,' ' natural dispositions,' ' native impulses or 
 temperaments '] no more obey the heavens than our courtiers. — Cym., i. i. 
 
 Led on by bloody [' full of blood,' ' sanguine '] youth . . . base and bloody [in the 
 combined senses of 'full of blood,' 'sanguine,' and of 'bloodthirsty,' 'sanguinary'] 
 insurrection. — 2 H. IV., iv. i. 
 
 How now, blown [in the combined senses of ' out of breath,' and 'swollen '] Jack ! 
 how now, quilt ! — i H. IV., iv. 2. 
 
 No blown [' swollen,' ' tumid,' ' inflated '] ambition doth our arms incite. — Lear, iv. 3. 
 
 A vent of blood, and something blown [' swollen,' ' puffed, ' tumid ']. — Ant. &• C, v. 2. 
 
 Look how imagination blows [' swells,' ' puffs up '] him. — Tw. N., ii. 5. 
 
 * The word " bitter " has been suspected of error in this passage by some com- 
 mentators; but see how Shakespeare uses it in the other passages here collectively 
 cited. 
 
534 THE SHAKESPEARE KEY. 
 
 This blows [in the sense of ' swells, and with the effect of ' strikes '] my heart. — 
 Ant. &■ C, iv. 5. 
 
 Not to seem senseless of . the bob [' sharp hit,' ' fling,' ' scoff, ' sarcasm ']. — 
 As You L,, ii. 7. 
 
 You shall not bob [' cheat,' ' trick'] us out of our melody.-^Ti-. <&■ Cr., iii. i. 
 
 I have bobbed f ' fleered,' ' flouted,' ' scoffed at '] his brain more than he has beat my 
 bones. — Ibid., ii. i. 
 
 Gold and jewels that I bobb'd [' fooled,' ' tricked,' ' cheated '] from him, as gifts to 
 Desdemona. — 0th., v. i. 
 
 You boggle [' shuffle,' -shift,' 'evade'] shrewdly. — All's W., v. 3. 
 
 You have been a boggier [' shuffler,' 'evader'] ever. — Ant. &• C, iii. 11. 
 
 With a base and boisterous [' rough,' ' fierce,' ' lawless '] sword enforce a thievish 
 living on the common road ? — As You L., ii. 3. 
 
 Feeling what small things are boisterous [' rough,' ' fierce," ' pain-giving '] there. — 
 John, iv. I. 
 
 May I be bold ['justified,' ' confident '] to think these spirits ? — Temp., iv. i. 
 
 As I am bold [' confident,' ' sure,' ' secure '] her honour will remain hers.— Cjm., ii. 4. 
 
 My love hath in 't a bond ['warrant,' 'justification,' 'authorised right'], whereof the 
 world takes note. — All's W., i. 3. 
 
 To seal love's bonds [' plighted vows'] new-made. —iWer. of V., ii. 6. 
 
 The bonds [' pledged vows,' ' plighted assurances of faith and troth '] of heaven are 
 slipp'd. — Tr. &• Cr., v. 2. 
 
 Like sanctified and pious bonds* ['pledged assurances of faith and troth'], the 
 better to beguile. — Hamlet, i. 3. 
 
 By that time will our book ['contract of articles or indentures'], I think, be drawn. — 
 I H. IV., iii. I. 
 
 A beggar's book [' book-learning,' ' bookish attainments '] outworths a noble"s 
 blood.— H. VIII., i. I. 
 
 To bookf [' enregister,' ' enter in the note, list, or scroll '] our dead, and then to 
 bury them. — H. V., iv. 7. 
 
 You, to your rights ; with boot [' extra advantage,' ' increase ']. — Lear, v. 3. 
 
 I will boot [' profit,' ' advantage,' ' give extra '] thee with what gift beside thy 
 modesty can beg. — Ant. &■ C, ii. 5. 
 
 Make boot [' profit,' 'advantage,'] of his distraction. — Ibid., iv. i. 
 
 Like the south, borne ['laden,' 'charged,' ' freighted'] with black vapour, doth begin 
 to melt, and drop. — 2 H. IV., ii. 4. 
 
 You shall have your bosom [' cherished wish,' ' fullest and heartiest desire '] on this 
 wretch. — M.for M., iv. 3. 
 
 Into the bosom [' private confidence ' and ' favourable opinion '] of that same noble 
 prelate. — i H. IV., i. 3. 
 
 To speak your bosom [' secret thoughts and wish '] freely. — 0th., iii. i. 
 
 Disgorge thy glutton bosom [including the senses of ' stomach' and 'popular affection 
 or favourable opinion'] of the royal Richard. — 2 H. IV., i. 3. 
 
 How shall this bosom multiplied [' multifarious stomach,' ' general stomach '] digest 
 the senate's courtesy ? — CorioL, iii. i. 
 
 To pluck the common bosom [' popular affection,' ' favour of the commonalty,' 
 ' common people's inclination '] on his side. — Lear, v. 3. 
 
 * The word " bonds '' in this passage has been suspected of error by several commen- 
 tators ; but see how it is used by Shakespeare in the other passages we have here cited. 
 
 f It has been proposed by some emendators to change " book " to ' look ' here ; but 
 inasmuch as the passage above cited from the " First Part of King Henry IV." shows 
 that "book" was used for a note or paper, as in the course of the next scene a paper 
 or " note " of the number slain is given to the king, and as Shakespeare frequently 
 forms a noun into an expressive verb [See Parts of Speech Diversely Used], we 
 believe " book" to be the word written by him in the present passage. 
 
PECULIAR USE OF WORDS. 535 
 
 In your embowell'd bosoms [' stomachs']. — R. III., v. 2. 
 
 Is bound [' held fast,' ' hemmed in '] in shallows. — yul. C, iv. 3. 
 
 Made him brave [' defy,' ' attack'] me upon the watch. — 0th., v. 2. 
 Brav'd | ' defied,'] in mine own house . . . thou hast braved [in the combined 
 sense of defied ' and ' made fine '] many men. —Tarn, of S., iv. 3. 
 
 Youth, and cost, and witless bravery [' finery,' ' showy dress '] keeps. — M.for M., i. 4. 
 
 That says his bravery [' finery,' ' expensive clothing '] is not on my cost. — As 
 You L., ii. 7. . 
 
 The bravery [' defiant and ostentatious character'] of his grief. — -Hamlet, v. 2. 
 
 In my vantbrace put this wither'd brawn [' arm ']. — Tr. &' Cr.,i. 3. 
 
 Hew thy target from thy brawn [' arm ']. — Coriol., iv. 5. 
 
 He cannot choose but break [' become bankrupt ']. — Mer. of V., iir. i. 
 
 He '11 but break [' give vent to,' ' utter '] a comparison or two. — M. Ado, ii. i. 
 
 That made you break [' disclose,' ' communicate '] this enterprise to me ?—Macb., i. 7. 
 
 The fool has an excellent breast [' singing-voice']. — Tw. N., ii. 3. 
 
 Your digestion sake, an after-dinner's breath [' exercise,' ' relaxation '] . — Tr. &• Cr., ii. 3. 
 
 To the uttermost, or else a 6«a<A ['exercise,' 'relaxation,' 'recreation']. — Ibid.,iv.j. 
 
 A night is but small breath [' breathing time '] and little pause to answer matters of 
 this consequence. — H. V., ii. 4. 
 
 Created for men to breathe [' exercise'] themselves upon thee. — All's W., ii. 3. 
 
 I am not yet well breathed [' exercised,"" ' entered into action ' ; including the sense 
 of 'made to breathe hard,' 'put out of breath 'J. — As You L., i. 2. 
 
 A most incomparable man ; breath'd [' exercised,' ' inured by practice'], as it were, 
 to an untirable. — Timon, i. ir 
 
 Sick for breathing [' exercise,' ' exertion,' ' action '] and exploit. — Alls W., i. 2. 
 
 Here is a lady that w^nts breathing [' exercise '] too. — Per., ii. 3. 
 
 There is a brief [' short note,' ' memorandum '] how many sports are ripe. — 
 Mid. N. D., V. I. 
 
 Expedient on the now-born brief [' command ']. — All's W., ii. 3. 
 
 She told me, in a sweet verbal brief [' short speech ']. — Ibid., v. 3. 
 
 Shall draw this brief [' small written note '] into as huge a volume. — John. ii. i. 
 
 This is the brief [' short list,' ' note,' ' memorandum '] of money, plate, and jewels, 
 I am possess'd of. — Ant. & C, v. 2. 
 
 Postures beyond brief* [' transient '] nature. — Cym., v. 5. 
 
 Go, put on thy defences. — Briefly ['immediately,' 'soon,' 'in a short time'], sir. — 
 Atit. &• C, iv. 4. 
 
 I '11 bring [' accompany,' ' escort '] thee on thy way. — R. II., i. 3. 
 
 Let me bring [' accompany '] thee to Staines. — H. V., ii. 3. 
 
 I '11 bring [' accompany 'J you to the gates. — Tr. &• Cr., v. 2. 
 
 Bring [' escort,' ' accompany'] me on the way a little. — 0th., iii. 4. 
 
 From broad [' bold,' ' unreserved '] words, and 'cause he. — Macb., iii. 6. 
 
 His pranks have been too broad [' unreserved,' ' audacious '] to bear with. — 
 Hamlet, iii. 4. 
 
 Who can speak broader [' more openly,' ' more unreservedly '] than he that has no 
 house to put his head in ? — Timon, iii. 4. 
 
 And therefore may be broke [' broken with,' ' broken off from '] without offence. — 
 I H. VI., V. 5. 
 
 Love to Richard is a strange brooch [' ornament,' 'jewel,' ' precious article '] in this 
 all-hating world. — R. II., v. 5. 
 
 He is the brooch ['distinguishing ornament'], indeed, and gem of all the nation. — 
 Hamlet, iv. 7. 
 
 * The whole passage, as it appears to us, signifies ' postures (or attitudes) sur- 
 passing the transient postures (or attitudes) of nature.' 
 
536 THE SHAKESPEARE KEY. 
 
 Ever shall be brooch'd ['ornamented,' 'adorned,' 'decorated'] with me. — Ant. 
 6* C, iv. 13. 
 
 I have no brother [' parallel,' ? counterpart']. — 3 H. VI., v. 6. 
 
 I/ike strengthless hinges, buckle [' bend '] under life. — 2 H. IV., i. i. 
 
 In single combat thou shalt buckle [' engage,' ' contend '] with me. — i H. VI., i. 2. 
 
 Too strong for me to buckle [' contend,' ' strive '] with. — Ibid., v. 3. 
 
 But buckle [' interchange contendingly '] with thee blows twice two for one. — 
 3 H. VI., i. 4. 
 
 Be buckled [' engaged,' ' contended '] with. — i H. VI., iv. 4. 
 
 This jewel holds his building [' firm placing,' ' strong and solid position,' ' fixture '] 
 on my arm. — Per., ii. i. 
 
 Not pay for the glasses you have burst [' broken '] ? — Tarn, of S., Indue. 1. 
 
 Hath been often burst [' broken '], and now repaired with knots. — Ibid., iii. 2. 
 
 How her bridle burst ['broke'] ; how I lost. — Ibid., iv. i. 
 
 And of buxom [' stout,' ' lusty,' ' vigorous '] valour. — H. V., iii. 6. 
 
 So buxom [' fresh,' 'lively'], blithe, and full efface. — Per., i. (Gower). 
 
 Shall buy ['pay for'] this treason, even with the dearest blood your bodies bear. — 
 3 H. VI., V. I. 
 
 Then by-peeping [' leering,' ' ogling,' ' casting side- way glances '] in an eye base and 
 unlustrous. — Cym., i. 7. 
 
 And would not change that calling [' appellation,' ' the right to be called thus '], to 
 be adopted heir. — As You L., i. 2. 
 
 Shall flout me out of my calling ['avocation ']. — Ibid., iii. 3. 
 
 Candied [' hardened ' : including a play on the word, as it it were spelt ' candid '] be 
 they, and melt, ere they molest ! — Temp., ii. i. 
 
 Let the candied ['sugary,' ' fawningly sweet': including an ironical play on the 
 word, as if it were spelt ' candid '] tongue lick absurd pomp. — Hamlet, iii. 2. 
 
 Thou art the cap [' chief] of all the fools. — Timon, iv. 3. 
 
 To poor we thine enmity's most capital [' chiefly affecting life,' ' mainly injurious '] 
 — Coriol., V. 3. 
 
 Douglas, Mortimer, capitulate ['treat by agreement, drawn up into heads or 
 chapters.' See "Articulate" under the present heading, as thus used] against us. — 
 I H. IV., iii. 2. 
 
 In this captious [See Varied Meanings, &c., for our full interpretation of the word 
 as used in the present passage by Shakespeare] and intenible sieve. — All's W., i. 3. 
 
 Sent our sons and husbands captivate ['as captives,' 'taken into captivity']. — 
 I H. VI., ii. 3. 
 
 Women have been captivate [' made captive,' ' taken into captivity '] ere now. — 
 Ibid., V. 3. 
 
 Whom fortune captivates ['takes captive ']. — 3 H. VI., i. 4. 
 
 Carded [' debased by mixing '] his state. — i H. IV., iii. 2. 
 
 And carefttl ['full of care or trouble '] hours. — Com. of E., v. i. 
 
 Mingled his royalty with carping ['jesting,' bantering,' ' rallying,' ' word-catching '] 
 fools. — I H. IV., iii. 2. 
 
 Our reverend cardinal carried [' carried through,' ' conducted.' See Idioms for 
 various uses of this verb]. — H. VIII., i. i. 
 
 The greater part carries it ['prevails,' 'carries the day ']. — Coriol., ii. 3. 
 
 He shall not carry [' prevail over,' ' conquer '] him. — Tr. & Cr., v. 5. 
 
 He can carve [' divide and dispense food at table; ' also ' make a peculiar sign with 
 the little finger,' that was considered an accomplishment in persons of gallantry] 
 too. — Love's L. L., v. 2. 
 
 She discourses, she carves [' makes the sign with the little finger to .engage the 
 favoured person's attention '], she gives the leer of invitation. — Merry W., i. 3. 
 
 Let it be cast [' cast up,' ' computed,' ' reckoned '], and paid —2 H. IV., v. i. 
 
 He hath bought a pair of cast [' left off,' ' discarded '] lips of Diana. — As You Z,., iii. 4. 
 
PECULIAR USE OF WORDS. 537 
 
 Our general cast [' dismissed '] us thus early. — 0th., ii. 3. 
 
 You are but now cast [' dismissed,' ' discharged,' ' cashiered '] in his mood. — Ibid., ii. 3 . 
 
 Whereon it came that I was cast [' dismissed from office,' ' cashiered ']—Ilnd., v. 2. 
 
 And catch [' secure ' ' ensure,' ' surely obtain '] , with his surcease, success. — Macb., i. 7 . 
 
 Such temperate order in so fierce a cause' ['course,' 'proceeding'], doth want 
 example. — jfokn, iii. 4. 
 
 Upon the spot of this enforced cause [' procedure,' ' motived course of action,' as 
 well as ' side taken in a contest ']. — Ibid., v. 2. 
 
 Working so grossly in a natural cause [' procedure,' ' motived course of action,' as 
 well as ' adopted side']. — H. V., ii. 2. 
 
 And power i' the truth 0' the cause [' procedure,' ' course of action ']. — Coriol., iii. 3. 
 
 Stand to me in this cause [' procedure,' ' course of action,' as well as ' matter for 
 consideration,' ' ground of future possible debate']. — Ibid., v. 3. 
 
 He cannot buckle his distemper'd cause [' course of conduct,' ' motived action,' 
 ' impelled procedure,' ' career '] within the belt of rule. — Macb., v. 2. 
 
 By the image of his cause [' course of proceeding,' ' conduct,' as well as ' motive,' 
 'urging occasion of hostility '] , I see the portraiture of his. — Hamlet, v. 2. 
 
 Sith I am enter'd in this cause [' course of action,' ' purposed proceeding,' as well as 
 ' side ' or ' party '] so far. — 0th., iii. 3. 
 
 Should censure [' pass judgment,' ' give an opinion,' ' criticise '] thus on lovely 
 gentlemen.^rOTO G. of V., i. 2. 
 
 Censure ['judge,' 'form your own opinion of] me in your wisdom. — yul. C, iii. 2. 
 
 Take each man's censure [' opinion '], but reserve. — Hamlet, i. 3. 
 
 In mouths of wisest censure [' opinion,' 'judgment']. — 0th., ii. 3. 
 
 Remains the censure ['sentence,' 'judgment,' 'condemnation'] of this hellish 
 villain. — Ibid., v. 2. 
 
 Despatch those centuries [' companies of a hundred men '] to our aid. — Coriol., i. 7. 
 
 A century [' company of a hundred men '] send forth. — Lear, iv. 4. 
 
 Said a century [' hundred '] of prayers. — Cym., iv. 2. 
 
 Flies each bound it chafes ['chafingly makes,' 'takes with much chafing']. — 
 Timon, i. i. 
 
 Resign thy chair [' assumed royal seat or position,' ' usurped throne '], and where I 
 stand. — ^3 H. VI., v. 5. 
 
 Is the chair [' throne,' ' regal seat'] empty ? — R. III., iv. 4. 
 
 The foil of England's chair ['throne'] where he. — Ibid., v. 3. 
 
 Not a tomb so evident as a chair [' public rostrum,' ' cathedra,' ' pulpit for public 
 orations'] to extol what it hath done. — Coriol., iv. 7. 
 
 Let him go up into the public chair [' rostrum ']. — Jul. C, iii. 2. 
 
 Who may I rather challenge ['accuse'] for unkindness. — Macb., iii. 4. 
 
 Where nature doth with merit challenge [' claim as due']. — Lear, i. i. 
 
 So much I challenge [' claim as due '] that I may. — 0th., i. 3. 
 
 And not of any challenge [' claim,' ' pretext '] of desert. — i H. VI., v. 4. 
 
 These white flakes had challeng'd [' claimed,' ' demanded '] pity of them.^- 
 Lcar, iv. 7. 
 
 Which challenges [' proclaims ' : including the effect of ' provokes confutation '] 
 itself as honour's born. — AlVs W., ii. 3. 
 
 Through the ashes of my chance [' fortune,' ' lot ']. — Ant. & C, v. 2. 
 
 Think what a chance [' prospect of fortune '] thou. — Cym., i. 6. 
 
 As we change [' exchange,' ' interchange '] our courtesies. — AlVs W., iii. 2. 
 
 * In the present passage, as in the one from " King Henry 'V." and the one from 
 " Macbeth," commentators have wished to alter the word " cause ;" but we think that 
 all the passages we here cite, serve to show that Shakespeare employed the word 
 " cause " peculiarly, and with so much of the same kind of meaning, as to testify 
 that it should be retained in the text of all these passages. 
 
538 THE SHAKESPEARE KEY. 
 
 He that I gave it to in change [' exchange '] promised. — H. V., iv. 8. 
 
 But with them change * [' exchange'] of honours. — Coriol., ii. i. 
 
 I '11 change [' exchange,' ' interchange '] that name with you. — Hamlet, i. 2. 
 
 To change [' exchange '] the cod's head for the salmon's tail. — 0th., ii. i. 
 
 Do not seek to take your change \ [' change of fortune,' 'reverse,' 'vicissitude'] 
 upon you.— .4s You L., i. 3. 
 
 It is but change ['change of fortune,' 'vicissitude,' 'alternation'], Titinius; for 
 Octavius is overthrown. — jful. C, v. 3. 
 
 Did deserve his change [' reverse,' ' altered fortune ']. — Ant. &• C, iii. 6. 
 
 In his own cAoHg-e [' changed conduct,' ' change of conduct,' 'altered behaviour'] 
 or by ill officers. — ^ul. C, iv. 2. 
 
 Why should this change [' conflicting interchange,' ' disturbing mutation 'J of 
 thoughts, the sad companion. — Per., i. 2. 
 
 In changing [' exchanging,' ' interchanging '] hardiment with great Glendower. — 
 I H. IV., i. 3. 
 
 My thoughts I'll character ['write,' 'inscribe,' 'express in graven characters']. — 
 As You L., iii. 2. 
 
 Produce my very character [' handwriting ']. — Lear, ii. i. 
 
 And charm [' bind as by a spell,' ' subdue by magic influence '] her chattering 
 tongue. — Tam. of S., iv. 2. 
 
 Or I will charm [' spell-bind'] your tongue. — 3 H. VI., v. 5. 
 
 Go to, charm [' silence as by a magic spell '] your tongue. — 0th., v. 2. 
 
 When I am reveng'd upon my charm [' spell,' ' bewitchment,' ' sorceress,' ' en- 
 chantress'], I have done all . . . this grave charm, whose eye beck'd forth my wars — 
 Ant. &• C, iv. 10. 
 
 She was a charmer ['enchantress,' 'sorceress,' 'one who deals in charms and 
 spells'], and could almost read the thoughts. — 0th., iii. 4. 
 
 This is the chase [' the beast that is being hunted or chased ']. — W. T., iii. 3. 
 
 Single out some other chase ['object chased,' ' prey pursued']. — 3 H. VI., ii. 4. 
 
 The goodness that is cheaf [' held of small value,' ' parted with on easy terms '] in 
 beauty, makes beauty brief in goodness. — M.for M., iii. i. 
 
 Man's life is cheap [' of little value,' ' worth as little '] as beast's. — Lear, ii. 4. 
 
 The childing [' teeming,' ' fruitful,' ' productive '] autumn. — Mid. N. D., ii. 2. 
 
 If thou shouldst strive to choose [' resist,' ' refrain,' ' do other than this.' See 
 Idioms for " choose" thus used].. — AlVs W., ii. 3. 
 
 The princess, sweet chuck [a term of endearment or familiarity, varied from ' chick ' 
 or ' chicken ']. — Love's L. L., v. i. 
 
 Sweet chucks [' term of familiarity '] beat not. — Ibid., v. 2. 
 
 Wind about my love with circumstance [' circumlocution,' ' superfluous words,' 
 ' needless instances ']. — Mer. of V., i. i. 
 
 Who, in his circumstance ['circumstantial argument,' 'detailed discussion'], ex- 
 pressly proves that no man is. — Tr. &• Cr., iii. 3. 
 
 Without more circumstance [' circumlocution '] at all. — Hamlet, i. 5. 
 
 With a bombast circumstance [' circumlocution 'j horribly stuff'ed. — 0th., i. i. 
 
 I must be circumstanc' d [' content to yield to circumstances ']. — Ibid., iii. 4. 
 
 Whose aged honour cites ['denotes,' ' betokens'] a virtuous youth. — All's W., i. 3. 
 
 * In the present passage, some commentators would alter " change " to ' charge ' ; 
 but the passages we here cite, show that Shakespeare occasionally uses " change " in 
 the sense of ' exchange,' and we believe that in this instance " change of honours " 
 means ' exchange of titles,' with reference to the new surname of Coriolanus in lieu of 
 the former name, Caius Marcius. 
 
 f Some commentators propose to substitute ' charge ' for " change " in this passage ; 
 but we have shown that elsewhere also Shakespeare uses " change " in the sense of 
 ' altered fortune,' ' reverse,' ' vicissitude.' 
 
PECULIAR USE OF WORDS. 539 
 
 I think it cites [' summons,' ' urges,' ' incites '] us, brother, to the field. — 3 H. VI,, ii. i. 
 
 The rude sea grew civil [' gentle,' ' less rough '] at her song. — Mid. N. D., ii. 2. 
 
 And many a civil [' unbarbarous,' ' civilised '] monster. — 0th., iv. i. 
 
 If any thing that 's civil [' civihsed '], speak; if savage. — Cym., iii. 6. 
 
 The civil'st [' most civilised '] place of all this isle. — 2 H. VI., iv. 7. 
 
 Roaming clean [' completely '] through the bounds of Asia. — Com. of E., i. i. 
 
 And disfigur'd c/caw ['completely,' 'quite,' 'utterly,' 'thoroughly']. — R.II., iii. i. 
 
 This is clean ['quite'] kam ['irrelevant,' 'beside the purpose']. — Coriol., iii. i. 
 
 Clean [' quite '] from the purpose of the things. — jful. C, i. 3. 
 
 It is clean ['quite'] out of the way. — 0th., i. 3. 
 
 Ere clean [' completely,' ' quite'] it o'erthrow nature. — Cym., iii. 6. 
 
 And a clear [' pure,' ' sinless '] life ensuing. — Temp., iii. 3. 
 
 Roots, you clear [' pure,' ' immaculate '] heavens ! — Timon, iv. 3. 
 
 So clear [' pure,' ' free from blemish,' ' spotless '] in his great office. — Macb., i. 7. 
 
 Persever in that clear [' pure,' ' innocent,' ' immaculate '] way thou goest. — Per., iv. 6. 
 
 Lest my life be cropp'd to keep you clear [' unsuspected,' ' free from chance of detec- 
 tion ']. — Ibid., i. I. 
 
 I require a clearness [' freedom from suspicion for myself,' and also ' neatness and 
 completeness in the task you undertake ']. — Macb., iii. i. 
 
 The earth this climate [' portion of the firmament '] overlooks. — John, ii. 2. 
 
 That, in a Christian climate [' country,' 'region ']. — R. II., iv. i. 
 
 Unto the climate [' country,' ' region '] that they point upon.— y«/. C, i. 3. 
 
 Whilst you do climate [' dwell,' ' reside,' ' remain,' ' breathe the atmosphere '] 
 here \—W. T., v. i. 
 
 Till famine cling [' shrivel,' ' shrink,' 'wither '] thee. — Macb., v. 5. 
 
 Let me clip [' embrace '] you in arms as sound. — Coriol., i. 6. 
 
 Here I clip [' embrace '] the anvil of my sword. — Ibid., iv. 5. 
 
 Clip [' embrace '] your wives, your friends. — Ant. &• C, iv. 8. 
 
 No grave upon the earth shall clip [' inclose,' ' infold '] in it a pair so famous. — 
 Ibid., v. 2. 
 
 Hark, how the villain would close [' conciliate by,' ' agreeing with,' ' by coming round 
 to the same opinion with 'J now, after his. — M.for M.,v. 1. 
 
 To close [' conciliate by finally assenting,' ' by agreeing '] with us ? — 2 H. IV., ii. 4. 
 
 He closes [' ends by agreeing,' ' finally comes to the concluding point of assent '] 
 with you in this consequence. — Hamlet, ii. i. 
 
 That close [' secret-looking,' ' reserved '] aspect of his. — John, iv. 2. 
 
 Go closely ['secretly,' ' privately'] in with me. — Ibid., iv. i. 
 
 Meaning to keep her closely [' secretly,' ' privately,' ' in concealment '] at my cell. — 
 R. &■ Jul., V. 3. 
 
 We have closely [' secretly,' ' privately,' ' hiddenly ' : also implying ' indirectly,' ' in 
 so covert a manner that he shall not know it is I who have done so 'J sent for Hamlet 
 hither. — Hamlet, iii. i. 
 
 All dedicated to closeness [' privacy,' ' seclusion ']. — Temp., i. 2. 
 
 All in haste she coasteth [' advances,' ' runs '] to the cry. — V. &• Adon., Stanza 145. 
 
 That give a coasting [' sidling,' ' conciliatory,' ' alluring,' ' enticing,' ' advancing to 
 meet halfway'] welcome ere it* comes. — Tr. &• Cr., iv. 5. 
 
 How he coasts [' insidiously proceeds,' ' encroachingly advances'], and hedges his 
 own way.— H. VIII., iii. 2. 
 
 As cognisance [' badge,' ' visible token '] of my blood-drinking hate. — i H. VI., ii. 4. 
 
 The cognisance [' token,' ' visible proof,' ' evidence '] of her incontinency is this. — 
 Cym., ii. 4. 
 
 * See Relatively Used Pronouns for our explanation of " it," as employed in 
 this passage. 
 
540 THE SHAKESPEARE KEY. 
 
 Move the hearers to collection [' make collective deduction,' ' draw conclusions '] ; 
 they aim at it. — Hamlet, iv. 5. 
 
 I can make no collection [' collective deduction,' ' conclusion drawn from aggregate 
 premises '] of it. — Cym., v. 5. 
 
 A fellow of the self-same colour [ ' kind,' ' complexional character.' See Idioms for 
 " colour " thus used]. — Lear, ii. 2. 
 
 Against all colour [' show of right,' ' ostensible right'], here did put the yoke upon 
 us. — Cym., iii. i. 
 
 Her combinate [' betrothed,' ' bound by contract '] husband. — M.for M., iii. i. 
 
 A solemn combination [' marriage contract '] shall be made of our dear souls.^ — 
 Tw. N., V. I. 
 
 Thy faith my fancy to thee doth combine ['contract,' 'affiance,' 'bind']. — 
 As YouL., v. 4. 
 
 I am combined [' bound '] by a sacred vow. — M.for M., iv. 3. 
 
 Comes [' becomes,' ' comes to be '] dear'd by being lack'd. — Ant. &• C, i. 4. 
 
 Infects one i:om7na ['jot,' 'iota,' 'the smallest imaginable point': in reference to 
 the smallest mark in punctuation, ' the least stop '] in the course I hold. — Timon, i. i. 
 
 And stand a comma [' link of amicably harmonious connection : ' in reference to the 
 least of all the sensible intervals in music. See Musical Terms] 'tween their amities. 
 Hamlet, v. 2. 
 
 Commend [' deliver,' ' convey,' ' commit '1 the paper to his gracious hand. — 
 AlVs W.,y.i. 
 
 His glittering arms he will commend [' commit '] to rust. — ii. //., iii. 3. 
 
 Justice commends [' commits '] the ingredients of our. — Macb., i. 7. 
 
 There is our commission [' warrant of authority '] , from which we would not have 
 you warp. — M.for M., i. i. 
 
 Seals a commission [' authorising warrant '] to a blank of danger. — Tr. &• Cr., iii. 3. 
 
 Bore the commission [' authorised power,' ' representativeship '] of my place and 
 person. — Lear, v. 3. 
 
 Blunted with community ['commonness,' 'usualness,' ' frequency']. — i H. IV., iii. 2. 
 
 New friends and stranger companies [' associates,' ' society ']. — Mid. N. D., i. i. 
 
 His companies [' associates,' ' companions '] unletter'd. — H. V., i. i. 
 
 What an equivocal companion [' fellow ' : used as a term of contempt] is this ! — 
 All's W., V. 3. 
 
 These jigging fools ? Companion [' fellow '], hence ! — yul. C, iy. 3. 
 
 Entrance to such companions ['fellows']. — Coriol., iv. 5. 
 
 That such companions [' fellows '] thou'dst unfold. — 0th., iv. 2. 
 
 The most comparative ['given to humorous similes,' ' full of droll comparisons'], 
 rascalliest, sweet young prince. — i H. IV., i. 2. 
 
 Every beardless vain comparative [' one given to make sallies of comparison,' ' dealer 
 in jesting similes']. — Ibid., iii. 2. 
 
 A comparison ['jocose simile,' ' witticism of analogy'] or two on me. — M. Ado, ii. i. 
 
 Full o{ comparisons ['jesting similes '] and wounding flouts. — Love's L. L., v. 2. 
 
 To lay his gay comparisons [' comparative advantages '] apart. — Ant. &• C, iii. 11. 
 
 To compass [' gain,' ' achieve '] her I '11 use my skill. — Two G. of V., ii. 4. 
 
 Bragged of that he could not compass [' achieve," perform," fulfil']. — Merry W., iii. 3. 
 
 That were hard to compass [' achieve ']. — Tw. N., i. 2. 
 
 To compass [' gain,' ' attain,' ' obtain '] such a boundless happiness ! — Per., i. i. 
 
 He and his competitors [' consociates,' ' confederates'] in oath. — Love's L. L., ii. i. 
 
 The competitors [' confederates,' ' allies,' ' colleagues '] enter. — Tw. N., iv. 2. 
 
 No, my complete [' accomplished '] master. — Love's L. L., iii. i. 
 
 This man so complete [' fully accomplished '].■ — H. VIII., i. 2. 
 
 Complete [' accomplished '] in mind and feature. — Ibid., iii. 2. 
 
 Thou great and complete ['accomplished 'J man. — Tr. &• Cr., iii. 3. 
 
PECULIAR USE OF WORDS. 541 
 
 That honourable, complete ['accomplished'], free-hearted gentleman. — Timon, iii. i. 
 
 Then it is the complexion [' nature,' ' constitutional tendency '] of them all to leave 
 the dam. — Mer. of V., iii. i. 
 
 Good my complexion [' bloom of countenance,' and ' natural propensity,' ' constitu- 
 tional tendency']. — As You L., iii. 2. 
 
 The o'ergrowth of some complexion [' natural propensity, ' constitutional tendency '], 
 oft breaking down the. — Hamlet, i. 4. 
 
 On my complexion [' constitutional temperament']. — Ibid., v. 2. 
 
 Of her own clime, complexion ['iair skin,' and 'temperament'], and degree. — 
 0th., iii. 3. 
 
 If we compose [' come to an agreement'] well here. — Ant. &■ C, ii. 2. 
 I crave our composition [' compact,' ' agreement '] may be written. — Ibid., ii. 6. 
 There is no composition [' consistency,' ' coincidence,' ' congruity '] in these news. — 
 0th., i. 3. 
 
 But it was a strong composure [' composition,' ' consociation,' ' combination '] a fool 
 could disunite. — Tr. &• Cr., ii. 3. 
 
 Thou art of sweet com/ojMre ['composition,' 'compounded qualities']. — Ibid., ii. 3. 
 As hiscomposure [' native component qualities'] must be rare indeed. — Ant. &• C, i. 4 
 
 And have the dates in compt [' duly taken account,' 'regularly summed-up order ']. 
 — Timon, ii. i. 
 
 And what is theirs, in compt [' trust']. — Macb., i. 6. 
 
 When we shall meet at compt [' the last great account ']. — 0th., v. 2. 
 
 Using conceit [' conception,' ' comprehension,' ' power of understanding '] alone. — 
 jfohn, iii. 3. 
 
 If it had conceit ['power of conceiving thought'], would die, as I am like to do. 
 — Per., iii. i. 
 
 Force his soul so to his own conceit [' conception,' ' idea '], that, from her working 
 . . . his whole function suiting with forms to his conceit ?— Hamlet, ii. 2. 
 
 Some horrible conceit ['conception,' 'idea']. — 0th., iii. 3. 
 
 One that so imperfectly conceits [' conceives,' ' imagines ']. — Ibid., iii. 3. 
 
 Well conceited ['conceived,' 'imagined'], Davy. — 2 H. IV., v. i. 
 
 With her modest eyes and still conclusion [' final manner,' ' sedate demeanour, 
 ' reticence'] shall acquire no. — Ant. &■ C, iv. 13. 
 
 So that, conclusions [' logical experiments,' ' deductions,' ' arguments '] to be as 
 kisses, if your four negatives make your. — Tw. N., v. i. 
 
 To try conclusions ['experiments'], in the basket creep. — Hamlet, iii. 4. 
 
 She hath pursu'd conclusions [' experiments '] infinite — Ant. &• C, v. 2. 
 
 If he have the condition [' inherent qualities,' ' native disposition '] of a saint. — 
 Mer. of v., i. 2. 
 
 Than my condition [' innate disposition,' ' natural tendency or quality '] ; which 
 hath been smooth. — i H. IV., i. 3. 
 
 A good English condition [' disposition,' ' moral quality ']. — H. V., v. i. 
 
 My condition [' natural disposition '] is not smooth. — Ibid., v. 2. 
 
 I have a touch of your condition [' temper,' ' disposition ']. — R. III., iv. 4. 
 
 Much prevail'd on your condition [' mood,' ' state of mind,' ' temper,' ' disposition ']. 
 —yul. C, ii. I. 
 
 She 's full of most blessed condition [' qualities of nature,' ' moral disposition ']. — 
 0th., ii. I. 
 
 And then, of so gentle a condition [' disposition,' ' native character ']. — Ibid., iv. i. 
 
 I, in my condition [' official capacity '], shall better speak of you. — 2 H. IV., iv. 3. 
 
 Well express'd in our condition [' pictorial capacity']. — Timon, i. i. 
 
 Soft conditions [' qualities,' ' dispositions '] and our hearts. — Tarn, of S., v. 2. 
 
 Govern our conditions [' dispositions,' ' tempers,' ' individual qualities ']. — Lear, iv. 3. 
 
 Our conditions [' dispositions,' ' characters '] so differing. — Ant. &• C, ii. 2. 
 
542 THE SHAKESPEARE KEY. 
 
 And gentle thy conditions [' qualities,' ' disposition '] ! — Per., iii. i. 
 
 Give him courteous conduct [' escort 'J to this place. — Mer. of V., iv. i. 
 
 And desire some conduct [' escort,' ' convoy '] of the lady. — Tw. N., iii. 4. 
 
 More than nature was ever conduct [' conductor'] of. — Temp., v. i. 
 
 I will be his conduct [' conductor ']. — R. II., iv. i. 
 
 Thou hast been conduct [' conductor '] of my shame. — 2 H. VI., ii. 4. 
 
 He did confound [' spend,' ' dissipate,' ' cause to pass away '] the best part of an 
 hour in. — i H. IV., i. 3. 
 
 How couldst thou in a mile confound [' spend,' ' lose,' ' consume '] an hour. — 
 Coriol., i. 6. 
 
 Let 's not confound [' lose,' ' spend,' ' consume '] the time. — Ant. &• C, i. i. 
 
 The interim, pray you, all confound [' consume ']. — Per., v. 2 (Gower). 
 
 So keen and greedy to confound (' destroy,' ' ruin,' ' cause to perish '] a man. — 
 Mer. of v., iii. 2. 
 
 Jutty his confounded [' being consumed by the action of the waves,' and ' confused,' 
 ' bewildered,' ' overwhelmed ' from their perpetual dash and drenching] base. — 
 H. v., iii. I. 
 
 Have confounded [' destroyed,' ' caused to perish '] one the other, or have fallen 
 both. — Cym., i. 5. 
 
 Decline to your confounding [' destructive '] contraries. — Timon, iv. i. 
 
 With some sweet consort [' company of musicians ']. — Tw. G. of V., iii. 2. 
 
 Wilt thou be of our consort [' band,' ' gang,' ' fellowship ']. — Ibid., iv. i. 
 
 Grows to something of great constancy [' consistency ' ; in its combined senses of 
 ' congruity and substantiality ']. — Mid. N. D., v. i. 
 
 Oh, constancy [' firmness,' ' steadfastness '], be strong. — yul. C, ii. 4. 
 
 Cassius, be constant [' firm,' ' self-possessed ']. — Ibid., iii. i. 
 
 I was constant [' decided,' ' firmly resolved '] Cimber should be banish'd, and 
 constant do remain to keep him so. — Ibid., iii. i. 
 
 This hour a constant [' steadfast,' ' determined,' ' resolute '] will to publish our 
 daughters' several dowers. — Lear, i. i. 
 
 Bring his constant [' firm,' ' decided,' ' settled '] pleasure. — Ibid., v. i. 
 
 To find the mind's construction [' interpretation,' ' exponent '] in the face. — 
 Macb., i. 4. 
 
 Your own honour to contain [' retain,' ' keep '] the ring. — Mer. of V., v. 1. 
 
 We can contain [' restrain,' 'keep control over'] ourselves. — Tam. ofS., Indue, i. 
 
 Oh, contain [' restrain,' ' control '] yourself. — Tr. &• Cr., v. 2. 
 
 Contain [' control,' ' restrain '] thyself, good friend. — Timon, ii. 2. 
 
 Ay, my continent [' container,' ' includer '] of beauty. — Love 's L. L., iv. i. 
 
 The continent [' container '] and summary of my fortune. — Mer. of V., iii. 2. 
 
 That orbed continent [' container of heat and light'] the fire that. — Tw. N., v. i. 
 
 Not tomb enough and continent [' container,' ' recipient '] to hide the slain. — 
 Hamlet, iv. 4. 
 
 You shall find in him the continent [' container and compriser '] of what part a 
 gentleman would see. — Ibid., v. 2. 
 
 Have a continent [' containing,' ' restraining '] forbearance. — Lear, i. 2. 
 
 Be stronger than thy continent ['container,' 'the body containing the heart']. — - 
 Ant. &• C, iv. 12. 
 
 Have overborne their continents [' containers,' ' the banks that contain the stream 
 of water ']. — Mid. N. D., ii. 2. 
 
 Thou globe of sinful continents [' contents,' ' propensities therein contained ']. — 
 2 H. IV., ii. 4. 
 
 Rive your concealing continents [' exterior inclosures']. — Lear, iii. 2. 
 
 An untirable and continuate ['continuous,' 'continual,' 'continued,' 'incessant'] 
 goodness. — Timon, i. i. 
 
PECULIAR USE OF WORDS. 543 
 
 In a more coniinuate [' uninterrupted '] time. — 0th., iii. 4. 
 
 From the body of contraction [' wedded union,' ' wedlock'] plucks the very soul. — 
 Hamlet, iii. 4. 
 
 These false and most eontrarious [' contrary to fact ' and ' contradictory to each 
 other'] quests. — M.for M., iv. i. 
 
 Please ye we may contrive [' spend,' ' pass away,' ' wear out ' : from the preterite 
 contrivi of the Latin verb contero] this afternoon. — Tam. of S., i. 2. 
 
 Was 't you that did so oft contrive [' plot '] to kill him ? — As You L., iv. 3. 
 
 The Fates with traitors do contrive [' plot,' ' conspire ']. — Jul. C, ii. 3. 
 
 Thou hast contrived [' plotted,' ' schemed '] against the very life. — Mer. of V., iv. i. 
 
 And his more braver daughter, could control [' confute,' ' bring a contrary account '] 
 thee. — Temp., i. 2. 
 
 Notice of your conventicles [' secret meetings for conspiracy ']. — 2 H. VI., iii. i. 
 
 Holy, cold, and still conversation ['conduct,' 'behaviour,' 'moral procedure']. — 
 Ant. &• C, ii. 6. 
 
 The good in conversation [' moral conduct,' ' behaviour ']. — Per., ii. (Gower). 
 
 From the conversation [' secret anxious discussion '] of my thoughts. — AlVs W., i. 3. 
 
 I will converse [' hold communion,' ' confer '] with iron-witted fools and unrespective 
 bqys. — R. III., iv. 2. 
 
 To converse [' hold communion,' ' have intercourse,' ' have commerce '] with him 
 that is wise. — Lear, i. 4. 
 
 One that converses [' holds communion,' ' has commerce '] more with the buttock of 
 the night, than with the forehead. — Coriol., ii. i. 
 
 " Convey " [' steal '] the wise it call. — Merry W., i. 3. 
 
 You may convey [' conduct stealthily,' ' carry on clandestinely or fiirtively '] your 
 pleasures. — Macb., iv. 3. 
 
 Convey [' artfully manage,' ' dexterously carry through '] the business as I shall find 
 means. — Lear, i. 2. 
 
 I fear, there is conveyance [' unfair management,' 'fraudulent dealing']. — iH. VI., i. 3. 
 
 Thy sly conveyance [' artifice,' ' crafty dealing']. — 3 H. VI.. iii. 3. 
 
 Conveyers ['tricksters,' ' defrauders '] are you all. — R. II., iv. i. 
 
 A whole armado of convicted [' condemned,' ' doomed to perdition,' ' marked out for 
 destruction '] sail. — yohn, iii. 4. 
 
 The holy suit which fain it would convince ['conquer,' ' obtain by conquest '] . — 
 Love's L.L., v. 2. 
 
 With wine and wassail so convince [' overpower,' ' overcome,' ' subdue ']. — Macb., i. 7. 
 
 To convince [' overcome,' 'conquer,' 'defeat'] the honour of my mistress. — Cj'm., i. 5. 
 
 This truth shall ne'er convince [' overcome,' ' confute,' ' refute ']. — Per., i. 2. 
 
 Their malady convinces [' defeats,' ' bafHes,' ' conquers '] the great assay of art — 
 Macb., iv. 3. 
 
 We freely cope [' pay,' ' remunerate,' ' reward,' ' recompense '] your courteous pains 
 withal. — Mer. of V., iv. i. 
 
 I love to cope ['encounter,' 'engage in conversation with'] him in these sullen fits. — 
 As You L., ii. i. 
 
 In the fear to cope [' encounter,' ' meet opposingly '] malicious censurers. — 
 H. VIII., i. 2. 
 
 Noble as the adversary I come to cope ['encounter,' 'engage in fight with']. — 
 Lear, v. 3. 
 
 And is again to cope [' encounter,' ' meet in amorous assignation '] your wife. — 
 0th., iv. I. 
 
 He yesterday coped [' encountered,' ' engaged in fight with '] Hector in the battle. — 
 Tr. &■ Cr., i. 2. 
 
 As e'er my conversation cop'd [' encountered '] withal. — Hamlet, iii. 2. 
 
 It was the copy [' copious subject '] of our conference. — Com. of E., v. i. 
 
 The whole matter and copy [' copious transcript '] of the father. — W. T., ii. 3. 
 
544 THE SHAKESPEARE KEY. 
 
 Be copy [' model,' ' pattern,' ' example '] now to men of. — H. V., iii. i. 
 
 But in them nature's copy 's [' example,' ' specimen,' and ' copyhold tenure '] not 
 eterne. — Macb., iii. 2. 
 Adorn his temples with a coronet [' crown ']. — i H. VI., v. 4. 
 
 This coronet [' crown '] part between you. — Lear, i. i. 
 
 Bears the cost [' wealth,' ' riches,' ' costly goods '] of princes. — As You L., ii. 7. 
 
 Worth all our mundane cost ['possessions ']. — Per., iii. 2. 
 
 Her amber hairs for foul have amber coted ['gone side by side with,' 'surpassed,' 
 'outvied,' and 'caused to be quoted,' 'observed,' 'noted.' See Pronunciation]. — 
 Love's L. L., iv. 3. 
 
 We coted [' passed beside,' ' passed by,' ' overtook '] them on the way. — Hamlet, ii. 2. 
 
 That England shall couch [' crouch,' ' humbly bend '] down. — H. V., iv. 2. 
 
 These couchings [' humble bendings,' ' crouchings '] and these. — Jul. C, iii. i. 
 
 Emptying our bosoms of their counsel [' interchanged confidence,' ' mutually ex- 
 changed secrets'] sweet. — Mid. N. D., i. i. 
 
 Is all the counsel [' interchanged confidence '] that we two. — Ibid., iii. 2. 
 
 What to your sworn counsel [' secrecy '] I have spoken. — AlVs W., iii. 7. 
 
 Did ever keep your counsels [' secrets,' ' confidences ']. — Mid. N. D., iii. 2. 
 
 Are enter'd in our counsels [' proceedings proposed in council ']. — Coriol., i. 2. 
 
 To countenance [' entertain,' ' receive,' ' welcome '] my mistress. — Tarn, of S.,\v, i. 
 
 Have countenance ['sanction,' 'support'] in this world to drown or hang them- 
 selves. — Hamlet, v. i. 
 
 Fair Portia's counterfeit [' likeness,' ' portrait '] ! — Mer. of V., iii. 2. 
 
 Thou draw'st a counterfeit [' likeness,' ' portrait '] best in all. — Timon, v. i. 
 
 What counts [' marks,' 'lines'] harsh fortune casts upon my face. — Ant. &• C, ii. 5. 
 
 This soft courage [' heart,' ' spirit,'] makes your followers faint. — 3 H. VI., ii. 2. 
 
 I 'd such a courage [' spirit,' ' will,' ' strength of desire,' ' ardour'] to do him good. — 
 Timon., iii. 3. 
 
 I will gyve thee in thine own courtship [' courtesy,' ' courteous behaviour '] . — 
 0th., ii. I. 
 
 Sirs, cover .[' prepare the table,' ' spread the meal '] the while. — As You L., ii. 5. 
 
 Why, then, cover [' lay the cloth,' ' prepare the table for the meal '], and set them 
 down. — 2 H. IV., ii. 4. 
 
 While I thy amiable cheeks do coy [' fondle,' ' caress,' ' smooth,' ' pat,' ' stroke ']. — 
 Mid. N. D., iv. i. 
 
 When he was a crack [' boy,' ' young lad '], not thus high. — 2 H. IV., iii. 2. 
 
 A crack [' lively boy '], madam. — Coriol., i. 3. 
 
 Ethiops of their sweet complexion crack [' boast']. — Love's L. L., iv. 3. 
 
 Were crack'd [' boasted,' ' vaunted'] of kitchen trulls. — Cym.,\. 5. 
 
 What cracker [' boaster '] is this same, that deafs. — jfohn, ii. i. 
 
 Being compact of credit ['credulity'] that you love us. — Com. ofE., iii. 2. 
 
 There I found this credit ['oral intelligence,' 'verbal message'], that he did range 
 the town to seek me out. — Tw. N., iv. 3. 
 
 And the rich crop [' produce '] of sea and land. — Cym., i. 7. 
 
 Who can cross [' contradict,' ' controvert,' ' dispute,' ' refute '] it? — Per., iv. 4. 
 
 You common cry [' pack'] of curs ! — Coriol., iii. 3. 
 
 You and your cry [' pack '] ! — Ibid., iv. 6. 
 
 Wherein your cunning ['skill,' 'artistic knowledge or proficiency'] can assist me 
 much. — Tarn, of S., Indue, i. 
 
 Craves a noble cunning [' wisdom,' 'philosophy']. — Coriol., iv. i. 
 
 Shame, that they wanted cunning ['wisdom,' 'judgment']. — Timon, v. 5. 
 
 In ignorance, and not in cunning [' knowledge,' ' intentional deed ']. — 0th., iii. 3. 
 
 My better cunning [' skill '] faints under his chance. — Ant. &• C, ii. 3. 
 
PECULIAR USE OF WORDS. 545 
 
 Virtue and cunning [' knowledge,' 'wisdom '] were endowments. — Per., iii. 2. 
 
 Yea, curb [' bend,' ' bow' : French, courber'] and woo. — Hamlet, iii. 4. 
 
 Mocked thee for too much curiosity [' careful regard to luxurious appointments,' 
 ' fastidious refinement ''\.—^Timon, iv. 3. 
 
 For ctirious [' scrupulous,' ' carefully precise '] I cannot be with you. — Tam. ofS., iv. 4. 
 
 Nature, rather curious [' excessively careful,' ' scrupulously painstaking ' : as derived 
 from the Latin cttra, ' care,' ' concern.' See Note at page 529 for Shakespeare s 
 practice in this respect] than in haste, hath well composed thee. — Alls W., i. 2. 
 
 So fraught with curious [' particular,' ' requiring special care '] business. — W. T., iv. 3. 
 
 His body couched in a curious [' carefully arranged and elaborately ornamented ' as 
 well as 'care-fraught.' See Varied Meanings, &c., for Shakespeare's inclusive mode 
 of employing words] bed. — 3 H. VI., ii. 5. 
 
 Mar a curious [' elaborate,' ' complicated,' ' involved '] tale in telling it. — Lear, i. 4. 
 
 Though you be therein curious [' scrupulous in inquiry,' ' particular in examination,' 
 ' careful in investigating'] the least cause. — Ant. &• C., iii. 2. 
 
 I am something ninoMS ['careful,' 'particular,' 'anxious,' 'solicitous']. — Cym., i. 7. 
 
 Wherein so curiously [' carefully,' ' regardfully '1 he had set this counterfeit. — 
 All's I-K., iv. 3. 
 
 She 's too curst [' shrewish,' ' pert,' ' perverse ']. — Too curst. — M. Ado., ii. i. 
 
 I was never curst [' shrewish,' 'spiteful,' 'scolding']. — Mid. N. D., iii. 2. 
 
 With curst [' harsh,' ' scolding,' ' severe '] speech I threatened. — Lear, ii. i. 
 
 Nor curstness [' wrangling,' ' ill-temper '] grow to the matter. — Ant. &• C, ii. 2. 
 
 Look, with a spot I damn [' doom,' ' condemn '] him. — ^ul. C, iv. i. 
 
 Perform 't, or else we damn [' doom,' ' condemn'] thee. — Ant. <&■ C, i. i. 
 
 Mark'd with a blot, damn'd [' doomed'] in the book of Heaven. — R. II., iv. i. 
 
 Fortune, on his damned [' doomed '] quarry smiling. — Macb., i. 2. 
 
 Oh, wilt thou darkling* [' in the dark,' ' in darkness '] leave me ? — Mid. N. D., ii. 3. 
 
 And we were left darkling [' in the dark '] . — Lear, i. 4. 
 
 Darkling [' in darkness '] stand the varying shore. — Ant. &• C, iv. 13. 
 
 I cannot daub [' keep up this miserable show of imitation,' ' this wretched mimicry '] 
 it farther. — Lear, iv. i. 
 
 So smooth he daub'd [' overlaid,' ' spread over disguisingly '] his vice with show 
 of virtue. — R. III., iii. 5. 
 
 By charms, by spells, by the figure, and such daubery ['delusion,' 'imposition,' 
 ' trickery,' ' fraud,' ' jugglery '] as this is. — Merry W., iv. 2. 
 
 The king was slily finger'd from the deck [' pack of cards ']. — 3 H. VI., v. i. 
 
 When I have deck'd [' sprinkled '] the sea with drops. — Temp., i. 2 
 
 Not letting it decline [' fall '] on the declined [' fallen ']. — Tr. & Cr., iv. 5. 
 
 Being advanc'd, declines [' falls'], and then men die. — Coriol., ii. i. 
 
 Far more to you do I decline [' incline,' ' bend towards ']. — Com. of E., iii. 2. 
 
 Decline [' bend,' ' incline '] your head. — Lear, iv. 2. 
 
 And rats, and such small deer [' animals in general']. — Ibid., iii. 4. 
 
 Defeat [' disfigure '] thy favour with a usurped beard. — 0th., i. 3. 
 
 The ground of my defeatures [' impaired looks,' ' disfigurements']. — Com. ofE., ii. 2. 
 
 Strange defeatures [' disfigurements'] in my face. — Ibid., v. i. 
 
 For God defend [' forbid'] the lute should be like. — M. Ado, ii. i. 
 
 Take my defiance [' denial,' ' rejection '] ; die, perish. — M.for M., iii. i. 
 
 Breaths that I defied [' abjured,' 'rejected'] not. — As You L. (Epilogue). 
 
 But I defy [' refuse,' ' reject '] all angels. — Merry W., ii. 2. 
 
 I defy [' reject,' ' refuse,' ' renounce '] all counsel. — John, iii. 4. 
 
 ■" Besides its direct meaning of 'in the dark,' " darkling," as Shakespeare employs 
 it, includes the meaning of ' baffled,' ' deserted,' ' bereft of light and help.' 
 
 2 N 
 
546 THE SHAKESPEARE KEY. 
 
 I defy [' denounce'] the tongues of soothers. — i H. IV., iv. i. 
 
 That's a degree [' step,' 'advance '] to love. — Tw. N., iii. i. 
 
 In these degrees [' steps '] have they made a pair of stairs to marriage. — 
 As You L., V. 2. 
 
 Shall of his demerits [' high merits ' : from the Latin demereo. See Note at page 
 529] rob Cominius. — Coriol., i. i. 
 
 My demerits [' merits '] may speak, unbonneted. — 0th.. i. 2. 
 
 If not deiwunc'd [' interdicted,' ' proclaimed to be prohibited '], against us, why should 
 not we be there in person ? — Ant. &• C, iii. 7. 
 
 The denunciation ['proclamation'] lack of outward order. — M.foril., i. 3. 
 
 You denied [' refused'] to fight with me. — W. T., v. 2. 
 
 You kill me to deny ['refuse '] it. — M. Ado, iv. i. 
 
 If they deny [' refuse '] to come. — Tam. of S., v. 2. 
 
 Deny [' refuse '] to speak with me ? — Lear, ii. 4. 
 
 Ere we depart [' part,' ' separate '], we '11 share a bounteous time. — Timon, i. r. 
 
 Willingly departed [' parted '] with a part. — yohn, ii. 2. 
 
 Like life and death's departing [' parting,' ' separation ']. — 3 H. VI., ii. 6. 
 
 That shall still depend [' remain dependents ']. — Lear, i. 4. 
 
 Our jealousy does yet depend [' hang in suspense']. — Cym., iv. 3. 
 
 Depose him [' take his deposition,' ' examine him upon oath '] in the justice of his 
 cauf e. — R. II., i. 3. 
 
 The term of a despised [' worthless,' ' unvalued '] life. — R. & Jul., i. 4. 
 
 What 's to come of my despised [' worthless,' ' unvalued '] time.— 0th., i. i. 
 
 Sickness hath determined [' ended,' ' terminated '] me. — 2 H. IV., iv. 4. 
 
 To my determined* [' brought to a prospect of termination '] time thou gav'st new 
 date.— I H. VI., iv. 6. 
 
 The determined * [' terminating period of] respite. — R. III., v. i. 
 
 As it determines [' dissolves,' ' melts away,' ' comes to an end '], so dissolve my life ! — 
 Ant. &• C, iii. II. 
 
 Trembles under his devouring \ ['destroying'] paws. — 3 H. VI., i. 3. 
 
 That can my speech diffuse [' disorder,' ' render wild, irregular, uncouth, and rough ']. 
 — Lear, i. 4. 
 
 With some diffused [' wild,' ' irregular,' ' discordant'] song. — Merry W., iv. 4. 
 
 Stern looks, diffus'd [' disorderly,' ' negligent,' ' wild,' ' irregular '] attire.— H. V., v. 2. 
 
 Vouchsafe, diffus'd [' strange,' ' irregular,' ' uncouth,' including the sense of ' widely 
 spread,' ' copiously dispers'd '] infection of a man. — R. III., i. 2. 
 
 Blot in thy digressing [' transgressing,' ' erring,' ' deviating from the right course '] 
 son.— J?. II., V. 3. 
 
 I may example my digression [' transgression,' ' deviating from the right way,' ' passing 
 out of bounds '] by some.— Love's L. L., i. 2. 
 
 You feel the dint [' deep impression,' ' strong effect '] of pity.— Jul. C, iii. 2. 
 
 Your rule direct [' convey,' ' delegate '] to any. — Per., i. 2. 
 
 Disable ■"' disparage,' ' depreciate,' ' undervalue '] all the benefits of your own 
 country. — As You L., iv. 1. 
 
 He disabled [' disparaged,' ' depreciated,' ' impugned '] my judgment. — Ibid., v. 4. 
 Unhousel'd, disappointed [' unappointed,' ' unprepared.' ' spiritually unprovided.' 
 See " Appointment as used in the passage cited from " Measure for Measure " under 
 the present heading], unanel'd. — Hamlet, i. 5. 
 
 * In both these passages where " determined" is used, the construction is peculiar. 
 Sec PECULi.iR Construction. 
 
 f This use of " devouring " for ' destroying,' and not for ' eating ravenously,' has been 
 adopted by Milton in his " Lycidas " : — 
 
 " Besides what the grim wolf, with privy /aze 
 Daily devours apace." 
 
PECULIAR USE OF WORDS. 547 
 
 Do discandy [' liquefy,' ' dissolve.' See " Candied " under the present heading as used 
 in " The Tempest," ii. i], melt their sweets. — Ant. & C, iv. lo. 
 
 By the discandying ['melting,' 'liquefying'] of this pelleted storm. — Ibid., iii. ii. 
 
 I will disease [' take off my outer garments.' See " Uncase " under the present 
 heading] me, and myself present, as I was sometime Milan. — Temp., v. i. 
 
 Therefore disease [' take off thy outer garments '] thee instantly. — W. T., iv. 3. 
 
 No discourse of reason [' ratiocination,' ' power of arguing rationally '] , nor fear of 
 bad success. — Tr. &• Cr., ii. 2. 
 
 A beast, that wants discourse of reason [' ratiocination,' ' reasoning faculty '], would 
 have mourn 'd longer. — Hamlet, i. 2. 
 
 All instance, all discourse [' ratiocination,' ' reasonable argument '] that I am ready 
 to distrust mine eyes. — Tw. N., iv. 3. 
 
 He that made us with such large discourse [' capacity for ratiocination,' ' faculty of 
 reasoning,' ' power of argument 'J. — Hamlet, iv. 4. 
 
 At large discoursed [' treated of,' 'set forth from point to point '] in this paper here. 
 —R. II., v. 6. 
 
 Send discoverers [' investigators,' ' scouts '] forth to know. — 2 H. IV., iv. i. 
 
 By diligent discovery [' investigation,' ' exploring,' ' scouting ']. — Lear, v. i. 
 
 To fob off our disgrace [' misfortune,' ' unhappiness ' : as the Italians use their 
 word disgrazia. See also " Fault " under the present heading] with a tail. — CorioL, i. i. 
 
 Do what you will, dishonour [' indignity '] shall be humour. — yul. C, iv. 3. 
 
 I never heard any soldier dislike [' express aversion '] to it. — M.for M., i. 2. 
 
 I did dislike [' express aversion to '] the cut of a certain courtier's beard. — As 
 You L., V. 4. 
 
 The stream of his dispose ['mood,' 'inclination,' 'that to which he is disposed '] , 
 without observance or respect of any. — Tr. &• Cr., ii. 3. 
 
 Please you to dispose [' place,' ' range '] yourselves. — Timon, i. 2. 
 
 She had disposed [' arranged,' ' adjusted matters '] with Caesar. — Ant. &• C, iv. 12. 
 
 Boyet is disposed [' inclined to be too free in talk,' ' inclined to unseemly merri- 
 ment ']. — Love's L. L., ii. I. 
 
 He does well enough if he be disposed [' in the humour for freedom in mirth,' ' ready 
 to ndulge in licence of fun or in broad talk']. — Tw. N., ii. 3. 
 
 With my disposer [' indulger in frolicsome mirth,' ' incliner to free talk,' ' inciter to 
 gaiety'], Cressida. — Tr. <&> Cr., iii. i. 
 
 That 's a feeling disputation [' argument,' ' discussion ']. — i H. IV., iii. i. 
 
 In disputation [' debating terms,' ' parleying,' ' argumentative treaty '] I kiss his 
 conquering hand. — Ant. &• C., iii. 11. 
 
 A few disputations [' arguments,' ' discussions '] with you. — H. V., iii. 2. 
 
 Dispute [' discuss,' ' argue upon '] his own estate ? — W. T., iv. 3. 
 
 Let me dispute [' reason,' ' argue,' ' debate '] with thee of thy estate. — R. &• Jul., iii. 3. 
 
 Though my soul disputes ['debates,' 'argues,' 'logically discusses'] well with my 
 sense. — Tw. N., iv. 3. 
 
 I will dissemble [' disguise,' ' conceal.' See Note at page 529] myself in 't. — 
 Tw. N., iv. 2. 
 
 Dissemble [' disguise,' ' hide,' ' conceal '] not your hatred. — R. III., ii. i. 
 
 By dissembling [' making unlike to others,' ' creating with a want of resemblance to 
 the rest of mankind '] nature. — Ibid., i. i. 
 
 Proceeding on distemper [' intemperance,' ' intoxication '], shall not. — H. V., ii. 2. 
 
 Thorough this distemperature [' mutual displeasure,' ' disagreement,' ' disturbance '] 
 we see the seasons alter. — Mid. N. D., ii. 2. 
 
 The day looks pale at his distemperature [' disturbance,' ' disorder ']. — i H. IV., v. i. 
 
 Marvellous distemper' d [' disordered,' ' disturbed ']. — Hamlet, iii. 2. 
 
 Full of supper and distempering [' intoxicating '] draughts. — 0th., i. i. 
 
 Which distinction ['distinctly detailed relation'] should be rich in. — Cym., v. 5. 
 
 2 N 2 
 
548 THE SHAKESPEARE KEY. 
 
 Would I flame distinctly [' separately'], then meet, and join. — Temp., i. 2. 
 His power went out in such distractions ['detachments,' 'separate bodies']. — 
 Ant. &■ C, iii. 7. 
 
 Go' to the feast, revel and domineer [' roister,' ' have an orgy ' ' be uproariously 
 festive']. — Tarn, of S., iii. 2. 
 
 There 's a double [' deceitful,' ' deluding '] tongue. — M. Ado, v. i. 
 
 Swear by your double [' deceitful,' ' full of duplicity '] self. — Mer. of V., v. i. 
 
 I am not a double [' deceitful,' ' delusive '] man. — i H. IV., v. 4. 
 
 A voice potential as double [ ' forcible,' ' strong,' and ' armed with duplicate power 
 to divorce or to imprison '] as the duke's. — 0th., i. i. 
 
 I doubt [' dread,' ' fear '] he will be dead or ere I come. — John, v. 6. 
 
 More thanyou doubt [' dread '] the change on 't. — Coriol., iii. i. 
 
 I doubt [' fear'], it is no other but the main. — Hamlet, ii. 2. 
 
 Doubt [' have a misgiving, a dread or half-belief] thou the stars are fire; 
 
 Doubt that the sun doth move ; 
 
 Doubt truth to be a liar ; 
 
 But never doubt [' disbelieve '] I love. — Ibid., ii. 2 {Letter). 
 
 Do not doubt [' dread,' ' fear,' ' have a misgiving of] that. — 0th., iii. 3. 
 
 Since doubting [' dreading,' ' having a misgiving that '] things go ill often hurts more 
 than to be sure. — Cym., i. 7. 
 
 Sweet draught [' receptacle for ordure '] : sweet, quoth 'a ! — Tr. &• Cr., v. i. 
 
 Drown them in a draught [' receptacle for ordure ']. — Timon, v. i. 
 
 And draw [' withdraw '] thy action. — 2 H. IV., ii. i. 
 
 Supposed dead and drown'd [' submerged in water ; ' without including the sense of 
 ' destroyed by water ']. — Per., v. 3. 
 
 To such as may the passive drugs [' drudges '] of it 
 Freely command. — Timon, iv. 3. 
 
 Duck [' bow '] with French nods and apish. — R. III., i. 3. 
 
 The learned pate ducks [' bows '] to the golden fool.- — Timon, iv. 3. 
 
 Silly ducking [' fawningly bowing '] observants. — Lear, ii. 2. 
 
 She was in her dull [' drowsy'] and sleeping hour. — Mid. N. D., iii. 2. 
 
 Unless some dull [' drowsy,' ' slumberous,' ' lulling,' ' sleep-inducing '] and favour- 
 able hand will whisper music. — 2 H. IV., iv. 4. 
 
 'Tis a good dulness [' drowsiness '] and give it way. — Temp., i. 2. 
 
 Never palates more the dung ['grossly material products of the earth'], the beggar's 
 nurse and Caesar's. — Ant. &• C, v. 2. 
 
 Our dungy [' material '] earth alike feeds beast as man. — Ibid., i. i. 
 
 The face to sweeten of the whole dungy [' material '] earth. — W. T., ii. i. 
 
 He gave you all the duties [' qualities duly belonging to '] of a man. — i H. IV., v. 2. 
 
 Vex him with eager [' sharp,' ' sour,' ' acrimonious ' : French, aigre,] words. — 
 3 H. VI., ii. 6. 
 
 A nipping and an eager [' sharp,' ' keen '] air. — Hamlet, i. 4. 
 
 Like eager [' sour,' ' acid,' ' sharp '] droppings into milk. —Ibid., i. 5. 
 
 Let them go to ear [' plough,' ' till ' ] the land. — R. II., iii. 2. 
 
 Our ills told us is as our earing [' ploughing,' ' tilling ']. — Ant. (&> C, i. 2. 
 
 I have had earnest [' money given in token that a bargain is ratified '] ; but I cannot 
 in conscience take it. — W. T., iv. 3. 
 
 If not, I have lost my earnest [' sum paid down as a pledge of intention to 
 purchase ']. — Per., iv. 3. 
 
 She is the hopeful lady of my earth [' landed estates ; ' also ' corporeal or material 
 self'].— i?. &yul.,i.2. 
 
 Turn back, dull earth ['corporeal or material part of me,' 'my earthlier portion '], 
 and find thy centre out. — Ibid., ii. i. 
 
 But to the earth [' inhabitants of earth '] some special good doth give. — Ibid., ii. 3. 
 
PECULIAR USE OF WORDS. 549 
 
 Vile earth [' corporeal portion of me '] to earth resign. — R. &> yul., iii. 2. 
 
 O that that earth [' corporeal form,' ' material body '], which kept the world in awe. 
 — Hamlet, v. i. 
 
 Poor soul, the centre of my sinful earth [' body,' ' corporeal or material portion ']. — 
 Sonnet 146. 
 
 Was this easy [' easy to be borne,' ' a light offence '] ? — 2 H. IV., v. 2. 
 
 Never win a soul so easy [' light,' ' fickle,' ' facile ' ; also including the effect of 
 ' easily '] as that Englishman's. — H. V., ii. 2. 
 
 These faults are easy [' slight,' ' venial,' ' unimportant ' ; also including the effect of 
 ' easily '], quickly answered. — 2 H. VI., iii. i. 
 
 The easy [• unimportant,' ' inconsiderable,' ' insignificant,' ' of small consequence '] 
 groans of old women. — Coriol., v. 2. 
 
 Hinder them from what this ecstasy [' excitement of mind '] may now provoke them 
 to. — Temp., iii. 3. 
 
 Mark how he trembles in his ecstasy [' aberration of mind '] ! — Com. of E., iv. 4. 
 
 Blasted with ecstasy [' alienation of mind']. — Hamlet, iii. i. 
 
 The ecstasy [' violent emotion,' ' mental disturbance '] hath so much overborne her. 
 — M. Ado, ii. 3. 
 
 Laid good "scuse upon your ecstasy ['vielent disturbance of mind,' 'fit of strong 
 emotion ']. — 0th., iv. i. 
 
 Thou wast the cause, and * most accurs'd effect [' deed,' ' that which was effected '] . 
 — jR. ///., i. 2. 
 
 The effect [' purport,' ' tenor '] of what I wrote ? — Hamlet, v. 2. 
 
 Lest with this piteous action you convert my stern effects [' deeds,' ' those which 
 are to be effected 'j — Ibid., iii. 4. 
 
 How much more elder [' more experienced,' ' more advanced in judgment as well as 
 years '] art thou than thy looks [See Elder, &c.]. — Mer. of V., iv. i. 
 
 And I the elder [' more potent,' ' more mighty '] and more terrible. — ytil. C, ii. 2. 
 
 Thou whoreson, impudent, embossed [' swollen,' ' protuberant 'J rascal. — i H.IV., iii. 3 . 
 
 An embossed [' swollen,' ' protuberant '] carbuncle. — Lear, ii. 4. 
 
 The poor cur is emboss' d ['foaming at the mouth,' 'panting for breath,' and 'wearied 
 out 'J. — Tarn, of S., Indue. I. 
 
 We have almost emboss'd [' run down,' ' hunted down'] him. — All's W., iii. 6. 
 
 The boar of Thessaly was never so emboss'd ['foaming at the mouth']. — 
 Ant. & C, iv. II. 
 
 Our lock' d embrasures ['embraces,' 'embracements']. — Tr. &• Cr., iv. 4. 
 
 In the instant o{ our encounter ['amorous meeting']. — Merry W., iii. 5. 
 
 If the encounter [' amorous meeting'] acknowledge itself. — M.for M., iii. i. 
 
 This amiable encounter ['amorous meeting']. — M. Ado, iii. 3. 
 
 With your strange encounter [' address,' ' mode of accosting '] much amaz'd me. — 
 Tarn, of S., iv. 5. 
 
 Appoints him an encounter [' amorous meeting']. — All's W., iii. 7. 
 
 The loose encounters [' amorous advances '] of lascivious men. — Two G. of V., ii. 7. 
 
 The vile encounters [' amorous meetings '] they have had. — M. Ado, iv. i. 
 
 Arm, wenches, arm! encounters ['encounterers,' 'amorous enterprisers or advancers'] 
 mounted are against your peace. — Love's L. L., v. 2. 
 
 Oh, these encounterersf ['amorous enterprisers'], so glib of tongue, that give a 
 coasting welcome ere it comes. — Tr. &• Cr., iv. 5. 
 
 * ' Thine was the ' is elliptically understood between " and " and " most " in this passage. 
 
 f The instances here collected of the mode in which Shakespeare often uses 
 " encounter " and " encounters," serve to show the sense in which he employs 
 " encounterers " in the present passage ; while we think that " it " implies ' amorous 
 advance ' as implied in the mention of " encounterers." See Relatively Used 
 Pronouns. 
 
55° THE SHAKESPEARE KEY. 
 
 The cardinal is the end ['origin,' 'ultimate cause'] of this. — H. VIII., ii. i. 
 
 When you were more endear'd [' dearly pledged,' ' engaged by more dear motives '] 
 to it than now. — 2 H. IV., ii. 3. 
 
 Enforce [' urge,' ' forcibly instance'] his pride. — Coriol., ii. 3. 
 
 Enforce ['urge against '] him with his envy. — Ibid., iii. 3. 
 
 Enforce [' urge'] the present execution of. — Ibid., iii. 3. 
 
 To enforce ['urge'] no farther the griefs between ye. — Atit. &• C, ii. 2. 
 
 To be engag'd [' pledged as a hostage,' ' detained as prisoner of war '] in Wales, — 
 1H./7., iv, 3. 
 
 Westmoreland, that was engag'd [' detained as hostage']. — Ibid., v. 2. 
 
 So much cngraffed [' attached ' ; as a graft is bound to the parent stock of a plant] 
 to Falstaff.— 2 H. IV., ii. 2. 
 
 For this they have engrossed [' accumulated '] and piVd up. — Ibid., iv. 4. 
 
 Shall enter [' give me entrance into his service,' ' cause him to entertain me in his 
 service '] me with him. — Ant. &• C, iv. 12. 
 
 All that serv'd Brutus, I will entertain [' receive them into my service '] them. — 
 Jul. C, V. 5. 
 
 So please you entertain ['receive me in your service'] me. — Cym., iv. 2. 
 
 Already in the entertainment [' in military pay ']. — Coriol., iv. 3. 
 
 If your lady strain his entertainment [' restoration to military pay and office '] with 
 any strong. — 0th., iii. 3. 
 
 The keenness of thy sharp envy ['hatred,' ' malice,' ' ill-will']. — Mer. of V., iv. i. 
 
 By addition of his envy [' malice '] ! — Ant. &• C, v. 2. 
 
 If this foul deed were by to equal [' be compared with '] it. — 3 H. VI., v. s- 
 
 And erring [' straying,' ' roving '] spirit hies. — Hamlet, i. i. 
 
 Betwixt an erring ['wandering,' ' erratic,' ' roving'] barbarian and a. — 0th., i. 3. 
 
 It is the very error ['errant' or 'wandering' as well as 'mistaken path'] of the 
 moon. — Ibid., v. 2. 
 
 For thy escape [' elopement,' ' flight ' ; including the effect of ' prank,' ' irregular act.' 
 See " Scape," subsequently quoted under the present heading] would teach me tyranny. — 
 0th., i. 3. 
 
 Thousand escapes [' sallies,' 'words uttered wantonly and with levity '] of wit make 
 thee the father. — M.for M., iv. i. 
 
 I do estate [' confer,' ' bestow'] unto Demetrius. — Mid. N. D., i. i. 
 
 Will I estate [' settle,' ' confer,' ' bestow '] upon you. — As You L., v. 2. 
 
 Though my estate ['condition,' 'position in life'] be fallen. — All's W., iii. 7. 
 
 Will show you his estate [' general condition,' ' state of means or resources, health, 
 and spirits '] . . . my estate is very low. — Mer. of V., iii. 2. 
 
 'Twas of some estate [' high rank,' ' distinguished condition ']. — Hamlet, v. i. 
 
 Such difference betwixt theii two estates ['conditions,' ' ranks in life']. — All's W.,i.3. 
 
 I speak not this in estimation [' reckoning upon conjecturally,' ' counting upon from 
 sanguine surmise '] as what. — i H. IV., i. 3. 
 
 Had he himseK eternity ['immortality'], and could. — W. T., v. 2. 
 
 He wants nothing of a god but eternity [' immortality']. — Coriol., v. 4. 
 
 Do not stain the even [' serene,' ' equable,' &c. See Note on the word " Even " at 
 page 498] virtue of our enterprise. — Jul. C, ii. i. 
 
 Not a tomb so evident [' obviously sure,' ' manifestly certain '] as a chair to extol 
 what. — Coriol., iv. 7. 
 
 We must find an evident [' sure,' ' certain,' ' inevitable '] calamity. — Ibid., v. 3. 
 
 That excellent [' excelling in wickedness,' ' surpassing,' ' egregious '] grand tyrant of 
 the earth. — R. III., iv. 4. 
 
 Much asham'd of my exchange [' disguise,' ' exchange of women's for men's clothes ']. 
 — Mer. of v., ii. 6. 
 
 Dally with my excrement [' hair,' ' beard '], with my mustachio. — Love's L. L., v. i. 
 
PECULIAR USE OF WORDS. 551 
 
 Pocket up my pedler's excrement [' beard ']. — W. T., iv. 3. 
 
 The execution [' employment,' ' performance,' ' exercise '] of his wit, hands, heart to 
 wrong'd Othello's service ! — Otk., iii. 3. 
 
 You are from me exempt [' cut off,' ' taken away ']. — Com. of E., ii. z. 
 
 This our life, exempt ['cut off,' 'apart,' 'secluded'] from public haunt. — As You 
 L., ii. I. 
 
 And exempt [' cut off,' ' excluded '] fi-om ancient gentry. — i H. VI., ii. 4. 
 
 Who would not wish to be from wealth exempt [' free,' ' released 'J. — Timon, iv. 2. 
 
 In debt for your last exercise [' homily,' ' religious discourse']. — R. III., iii. 2. 
 
 That show of such an exercise [' devotional reading,' ' religious perusal '] may colour 
 your lonelinesss. — Hamlet, iii. i. 
 
 Like exhibition [' allowance of money,' ' stipend '] thou shalt have from me. — Two 
 G. of v., i. 3. 
 
 Confin'd to an exhibition [' stipendiary allowance '] ! — Lear, i. 2. 
 
 Due reference of place and exhibition [' provision,' ' allowance ']. — 0th., i, 3. 
 
 Nor any petty exhibition [' stipend,' ' displayed offer ']. — Ibid., iv. 3. 
 
 No exorciscr [' raiser of spirits : ' not, as is more usual, ' layer of spirits '] harm 
 thee. — Cym., iv. 2 (Song). 
 
 Behold and hear our exorcisms [' conjurations for raising spirits ']. — 2 H. VI., i. 4. 
 
 Is there no exorcist [' raiser of spirits'] beguiles the. — All's W., v. 3. 
 
 Like an exorcist [' raiser of spirits '] has conjur'd up my mortified spirit. — 
 Jill. C, ii. I. 
 
 In forwarding this dear expedience ['expedition,' ' enterprise']. — i H. IV., i. i. 
 
 The cause of our expedience [' expedition,' ' haste,' ' despatch '] to the queen. — 
 Ant. &• C, i. 2. 
 
 With much expedient [' expeditious '] march. — John, ii. i. 
 
 Do this expediently [' expeditiously'], and turn him going. — As You L., iii. i. 
 
 Extended [' seized '] Asia from Euphrates. — Ant &• C, i. 2. 
 
 Make an extent [' seizure'] upon his house and lands. — As You L., iii. i. 
 
 Unjust extent [' seizure,' ' assault '] against thy peace. — Tw. N., iv. i. 
 
 Which by no means we may extenuate ['mitigate in severity,' 'diminish in force']. — 
 Mid. N. D., i. I. 
 
 Thinking by this/ace [' show of courage '] to fasten. — Jul C, v. i. 
 
 To face [' garnish ' as with a facing or trimming] the garment of rebellion with 
 some fine colour. — i H. IV., v. i. 
 
 Doth not flatter, face ['wear a deceitful appearance '] or feign. — i H. VI., v. 3. 
 
 To face [' impudently assert '] me out of my wits. — Tw. N., iv. z. 
 
 For fear I should be faced ['impudently taunted '] out of my way. — H. V., iii. 7. 
 
 He 's of a most facinorous [' rebellious,' ' refractory,' ' contumacious ' : from the 
 Italian facinoroso] spirit that will not acknowledge. — All's W., ii. 3. 
 
 Not sin, and yet a sinful fact [' deed ']. — Ibid., iii. 7. 
 
 Those of your fact [' deed,' ' sin,' ' crime,' ' guilt '] are so. — W. T., iii. 2. 
 
 Becoming well thy fact [' deed,' ' crime ']. — Per., iv. 4. 
 
 With their /niHt ['feeble,' 'weak,' 'spiritless,' 'faint-hearted'] reply this answer 
 join. — Timon, iii. 3. 
 
 Perceived a most faint [' languid,' ' spiritless '] neglect. — Lear, i. 4. 
 
 That /nir [' beauty.' See P.^rts of Speech Diversely Used], for which love 
 groan'd. — R. &• Jul., i. 5 (Chorus). 
 
 Having no fair [' beauty'] to lose. — V. &• Aden., Stanza 181. 
 
 Inward worth, nor outward fair [' beauty ']. — Sonnet r6. 
 
 Every fair [' beauty '] from fair sometime declines. — Ibid. 18. 
 
 To your fair [' beauty '] no painting set. — Ibid. 83. 
 
 To this great fairy [' enchantress '] I '11 commend. — Ant. &> C, iv. 8. 
 
552 THE SHAKESPEARE KEY. 
 
 Hath sense withal of its own fall* [' downfall']. — Timon, v. 2. 
 
 Ours is the fall [' downfall,' ' defeat '], I fear. — Ibid., v. 3. 
 
 Whose /nZ/ ['downfall,' 'ruin,'' destruction'] the mark of his ambition is — Ibid.,w.^. 
 
 I know not what may fall [' befall,' ' happen,' ' occur ']. — yiil. C, iii. i. 
 
 No disgrace shaW fall [' befall '] you for refusing. — Ant. &• C, iii. 7. 
 
 Her mantle she did fall [' let fall,' ' drop ']. — Mid. N. D., v. i. 
 
 Here she did fall [' let fall,' 'drop '] a tear. — R. II., iii. 4. 
 
 Fall [' drop'] not a tear, I say. — Ant. &• C, iii. g. 
 
 Well thank'd, whate'er/aUi [' befalls '] more. — All's W., v. i. 
 
 Each drop she falls [' lets fall,' ' drops '] would prove.— 0</i., iv. i. 
 
 Forty fancies [' favourite songs, gay and fanciful '] prick'd in 't. — Tarn, of S., iii. 2. 
 
 They were \as, fancies ['favourite fanciful songs']. — 2 H. IV,, iii. 2. 
 
 So full of shapes is fancy [' love,' 'enamoured imagination']. — Tw.N., i. i. 
 
 I am, and by lay fancy [' love,' ' affection ']. — W. T., iv. 3. 
 
 In May's new-fangled [' decked out'] shows. — Love's L. L., i. i. 
 
 Be not, as is ova fangled [' frivolously decked out,' ' fantastically fashioned '] world, 
 a garment nobler. — Cym., v. 4. 
 
 The farced [' stuffed,' ' compounded of highly seasoned epithets ' : French, farci. 
 See " Forced " under the present heading] title running 'fore the king. — H. V., iv. i. 
 
 I prattle out oi fashion [' conventional form ']. — 0th., ii. i. 
 
 'Tis OMtfast ['firm,' ' steadfast'] intent to shake. — Lear, i. i. 
 
 Strong and fastened [' confirmed,' ' inveterate,' ' steadfast in guilt '] villain 1 — 
 Ibid., ii. I. 
 
 The native mightiness -and fate [' power decreed to him by fate,' ' performance 
 appointed him by destiny'] of him. — H. V., ii. 4. 
 
 'Tis your fault [' ill-luck,' ' mishap,' ' misfortune'], 'tis youi fault : 'tis a good dog. 
 — Merry W., i. i. 
 
 'Tis my fault [' misfortune']. Master Page. — Ibid., iii. 3. 
 
 The more my fault ['misfortune'], to 'scape. — Per., iv. 3. 
 
 I know your favour [' aspect,' ' look,' ' countenance '] well. — Tw. N., iii. 4. 
 
 As I do know your outward favour ['aspect,' ' appearance']. — ^ul. C, i. 2. 
 
 To alter favour ['aspect'] ever is to fear. — Macb., i. 5. 
 
 To tWiS favour [' appearance '] she must come. — Hamlet, v. i. 
 
 And stain my favours [' features,' ' looks '] in a bloody mask. — i H. IV., iii. 2. 
 
 But let my favours [' silken scarf worn over armour '] hide thy mangled face. — 
 Ibid., V. 4. 
 
 And hold'st it fear [' danger,' ' that which is to be feared,' ' cause of fear,' Sec 
 WORDS LIKE " Blame," &c.] , or sin, to speak a truth. — 2 H. IV., i. i. 
 
 And indent with fears [' causers of fear,' ' those likely to inspire fear '], when they 
 have lost. — i H. IV., i. 3. 
 
 All these ho\d fears [' causers of fear '] thou see'st. — 2 H. IV., iv. 4. 
 
 Come down with fearful [' secretly timid '] bravery. — yul. C, v. i. 
 
 He's gentle, and not fearfulf [' timid'].— Tem/., i. 2. 
 
 Pursue these fearful ['timid'] creatures. — V. &• Adon., Siaiiza 113. 
 
 Doth my simple feature [' general personal appearance '] content you ? — 
 As You L., iii. 3. 
 
 * " Fall,'' in this passage, has been variously altered by various commentators; but 
 we think that the mode in which Shakespeare uses it in the two other passages here 
 cited from the same play serves to show that he intended to use it in the sense we 
 assign, in the present instance. 
 
 ■f Some interpreters explain " gentle, and not fearful " here to mean, ' mild, not for- 
 midable ' ; but we believe it to mean ' of noble nature, and not timid.' See " Gentle " 
 as used in the present heading ; and " Fearful " as used in the above-cited passages. 
 
PECULIAR USE OF WORDS. 553 
 
 Be-monster not thy feature [' personal appearance ']. — Lear, iv. 2. 
 
 Report the feature [' personal appearance,' ' general aspect '] of Octavia. — 
 Ant. &• C, ii. 5. 
 
 For feature ['personal a-ppearance,' 'general shapeliness'], laming the shrine of 
 Venus. — Cym., v. 5. 
 
 I will your very faithful feeder [' menial,' ' hired servant,' and ' pasturer or feeder of 
 sheep'] be. — As You L., ii. 4. 
 
 One that looks on feeders [' menials,' ' hired servants ']. — Ant. & C, iii. 11. 
 
 Have secret feet ['footing'] in some of our best ports. — Lear, iii. i. 
 
 That fell [' cruel,' ' barbarous,' ' tyrannous,' ' grim '] anatomy. — John, iii. 4. 
 
 Of that/eK [' cruel,' ' tyrannous '] poison which assaileth him. — Ibid., v. 7. 
 
 To be youi fellow [' companion,' ' equal '] you may deny me. — Temp., iii. i. 
 
 Nor after my degree, hut fellow [' companion,' ' equal ']. — Tui. N., iii. 4. 
 
 Cannot parallel a. fellow [' equal '] to it. — Macb., ii. 3. 
 
 My brother's servants were then my fellows [' equals']. — Temp., ii. i. 
 
 Put into contempt the suits of princely /c/Zoo»j [' equals']. — Cym., iii. 4. 
 
 h fetch [' contrivance,' ' trick,' ' stratagem '] of warrant. — Hamlet, ii. i. 
 
 yiere fetches ['pretences,' ' excuses,' 'feints'] ; the images. — Lear, ii. 4. 
 
 Temperate order in so fierce [' rash,' ' hasty,' ' sudden,' ' precipitate '] a cause. — 
 yohn, iii. 4. 
 
 This fierce ['hasty,' 'rapid,' ' brief] abridgment hath. — Cym., v. 5. 
 
 The valu'd//« [' list '] distinguishes ... a station in the file. — ilacb., iii. i. 
 
 Three performers are thefile [' line of soldiers,' 'range of combatants'], when all the 
 rest do nothing. — Cym., v. 3. 
 
 Are his files ['lines of soldiers'] as full as thy report? — Timon, v. 3. 
 
 Yet fil'd [' kept pace with '] my abilities. — H. VIII., iii. 2. 
 
 Have IfiVd [' defiled'] my mind. — Macb., iii. i. 
 
 His tongue filed [' polished '], his eye. — Love's L. L., v. i. 
 
 Thou art too fine [' evasive,' ' prevaricating,' ' wily'] in thy evidence. — Alls W., v. 3. 
 
 Say, the firm [' constant.' See " Constant," under the present heading, sometimes 
 used for ' firm '] Roman to great Egypt sends. — Ajit. iS> C, i. 5. 
 
 Too flattering [' illusively '] sweet to be substantial. — R. &• Jtd., ii. 2. 
 
 If I may trust the flattering ['illusive'] truth of sleep. — Ibid., v. i. 
 
 Observe how Antony becomes his flaw [' breach of fortune ' and ' storm of fortune ']. 
 — Ant. &• C, iii. 10. 
 
 I do not fear the flaw [' stormy blast']. — Per., iii. i. 
 
 Sudden as flaws' ['sudden gusts of wind'] congealed. — 2 H.IV., iv. 4. 
 
 Oh, these flaws [' sudden gusts '] and starts. — Macb., iii. 4. 
 
 Shall break into a hundred thousand flaws [' fragments,' ' shivers ']. — Lear, ii. 4. 
 
 As seasons fleet ['pass away in succession']. — 2 H. VI., ii. 4. 
 
 Our sever'd navy too have knit again, anA fleet ['float.' This is an antique form 
 of the word], threatening most. — Ant. &• C, iii. 11. 
 
 To darkness fleet [' float rapidly,' ' pass quickly away '], souls that fly backwards ! — 
 Cym., V. 3. 
 
 False, fleeting ['fluctuating,' 'vacillating,' 'inconstant,' 'changeable'], perjur'd 
 Clarence. — R. III., i. 4. 
 
 Now thefleeting [' inconstant,' ' variable,' ' changeable '] moon no planet is of mine. — 
 Ant. &> C, V. 2. 
 
 You are \vel\ fleshed [' commenced and practised in the use of your weapon '] ; come 
 on. — Tw. N., iv. i. 
 
 - It has been asserted that here " flaws" signifies ' small blades of ice ' ; but from 
 the tenor of the passage, and from Shakespeare's use of the word " flaws '' elsewhere, 
 we incline to think he employed it with the meaning we assign. 
 
554 THE SHAKESPEARE KEY. 
 
 Pnnces, Jlesh'd ['satiated'] with conquest. — 2 H. IV., i. i. 
 
 And the Jlesh'd [' practised,' ' experienced ' ' accustomed to butchery '] soldier, rough 
 and hard of heart. — H. V., iii. 3-. 
 
 Albeit they were Jlesh'd [' practised '] villains. — R. III., iv. 3. 
 
 Challenged Cupid at the flight ['sharp slender arrow used for flying long distances '"". 
 — M. Ado, i. I. 
 
 The flighty ['swift,' 'rapidly conceived'] purpose. — Macb., iv. i. 
 
 Does your business /oHoJO [' concern,' ' pursue as its object '] us ? — All's W., ii. i. 
 
 I hsve follow' d [' inimically and emulatively pursued '] thee to this. — Ant. & C, v. i. 
 
 Whut folly ['indiscretion,' 'lightness,' 'levity'] I commit.— Tr. &• Cr., iii. 2. 
 
 Tempt me no more to folly [' light conduct ']. — Ibid., v. 2. 
 
 She turn'd to folly ['light conduct,' 'wantonness']. — 0th., v. 2. 
 
 Feeds his vulture /oHj) [' wantonness,' ' depravity ']. — Liicrccc, Stanza 80. 
 
 Or tyrant folly [' wantonness,' ' depravity '] lurk. — Ibid., 122. 
 
 This is a. fond ['foolish,' 'witless,' 'crazed'] and desperate creature. — All'$ W.,v. 3. 
 
 Be not fond ['foolish,' 'weak'], to think that C«sar. — Jul. C, iii. i. 
 
 An idle a.nd fond ['foolish,' 'weak'] bondage. — -Lear, i. 2 (Letter). 
 
 Stoop'd, as to foot ['clutch in talons'] us. — Cym., v. 4. 
 
 Forage [' range forth in search of prey '], and run to. — John, v. i. 
 
 Lion's v/help forage ['ravagingly prey,' ' destructively ramp or range'] in- blood of 
 French nobility. — H. V., i. 2. 
 
 Canst thou not forbear [' bear with '] me half an hour? — 2 H. IV., iv. 4. 
 
 To forbear [' bear with,' ' tolerate,' ' endure '] the absence of. — Per., ii. 4. 
 
 He shall live a man forbid [' bewitched,' ' under a spell or charm ']. — Macb., i. 3. 
 
 Law by the nose, when he would force [' enforce'] it? — M.for M., iii. i. 
 
 And force ['enforce,' 'urge'] them with a constancy. — H. VIII., iii. 2. 
 
 Why force [' enforce,' ' urge '] you this ? — CorioL, iii. 2. 
 
 Much is the fofce [' power ' ' influence,' ' efficacy,' ' favourable agency '] of heaven- 
 bred poesy. — Two G. of V., iii. 2. 
 
 Thy fair virtue's force [' essential excellence,' ' virtuous property or quality '] perforce 
 doth move me. — Mid. N. D., iii. i. 
 
 Had force [' influence ' and ' virtuous exellence '] and knowledge more than was 
 ever man's. — W. T., iv. 3. 
 
 Force [' stuff,' ' cram.' See " Farced " under the present heading] him with praises : 
 pour in, pour in. — Tr. <&> Cr., ii. 3. 
 
 By that forced [' perverted from truth,' ' wryed from fact,' ' false '] baseness which 
 he has put upon 't ! — W. T., ii. 3. 
 
 With these forc'd [' perverted from truth,' ' false '] thoughts. — Ibid., iv. 3. 
 
 So forcing [' falsely imputing,' ' wrongfully charging '] faults upon Hermione, I 
 little like. — Ibid., iii. i. 
 
 To make of him a formal [' sane,' 'rational'] man again. — Com. of E., v. i. 
 
 This is evident to any formal [' sane,' ' rational '] capacity. — Tw. N., ii. 5. 
 
 Flow henceforth in formal ['well-regulated,' ' sedate'] majesty. — 2 H. IV., v. 2. 
 
 With untir'd spirits and /ocmn/ [' orderly,' 'well-regulated,' 'discreet,' 'judicious '] 
 constancy. — jf^il. C, ii. i. 
 
 On our former [' foremost '] ensign two mighty. — Ibid., v. i. 
 The fortitude [' fortified strength '] of the place is best known. — 0th., i. 3. 
 I have now found [' detected,' ' found out '] thee. — All's W., ii. 3. 
 I ha.ve found ['detected'] thee. — Ibid., ii. 4. 
 The first that found [' detected '] me. — Ibid., v. 2. 
 
 Heaven save the foundation [' religious house or establishment where alms were 
 given '] ! — M. Ado, v. i. 
 
PECULIAR USE OF WORDS. 555 
 
 I think foundations [' religious establishments where relief is given '] fly the 
 wretched. — Cym., iii. 6. 
 
 And these ha.id fractions [' broken sentences,' ' fragmentary phrases ']. — Timon, ii. 2. 
 
 Chid I for that at frugal nature's/rame ['order,' 'ordination,' 'disposal of events'] ? — 
 M. Ado, iv. I. 
 
 Ever out oi frame [' order']. — Love's L. L., iii. i. 
 
 That yarely frame [' perform,' ' fulfil '] the office. — Ant. &• C, ii. 2. 
 
 Frank [' freely bounteous,' ' open-handed,' ' generous in gifts '] nature, rather 
 curious than in haste. — AlVs IV., i. 2. 
 
 Doth the old boar feed in the old frank [' sty,' ' place to fatten hogs in '] ? — 
 2 n. IV., ii. 2. 
 
 He is frank'd [' styed '] up to fatting for his pains. — R. III., i. 3. 
 
 And (he free [' pure,' ' chaste,' ' free from vicious taint '] maids. — Tw. N., ii. 4. 
 
 More free [' chaste,' ' pure '] than he is jealous. — W. T., ii. 3. 
 
 He did solicit you in free [' open,' ' unreserved '] contempt. — Coriol., ii. 3. 
 
 'Being free [' liberal '] itself, it thinks all others so. — Timon, ii. 2. 
 
 We that have free [' unguilty,' ' free from crime '] souls. — Hamlet, iii. 2. 
 
 With his free [' freely rendered,' ' spontaneously offered '] duty recommends. — 
 0th., i. 3. 
 
 When this advice is free [' liberal,' ' spontaneous '] I give. — Ibid., ii. 3. 
 
 I think ii freely ['sincerely,' ' genuinely'] ; and, betimes. — Ibid., ii. 3. 
 
 We '11 learn our freeness [' generosity,' ' liberality,' ' magnanimity '] of a son-in-law. 
 — Cym., v. 5. 
 
 He hath got his friend [' sweetheart,' ' mistress,' ' loveress '] with child. — 
 M.for M., i. 5. 
 
 Lady, will you walk about with your friend [' admirer,' ' lover '] ? — M. Ado, ii. i. 
 
 Which fronted ['affronted,' ' opposed'] mine own peace. — Ant. &• C, ii. 2. 
 
 She 's fram'd sls fruitful [' bountiful,' ' generous '] as the free elements.— OiA., ii. 3. 
 
 What a full ['plenarily good'] fortune does the. — Ibid., i. i. 
 
 Commands like a.full [' fully accomplished '] soldier. — Ibid., ii. i. 
 
 Blithe, and full [' fully beautiful,' ' plenarily attractive '] of face. — Per., i. (Gower). 
 
 My full [' whole,' ' entire,' ' complete'] life doth sway. — As You L., iii. 2. 
 
 He -was furnish'd [' equipped,' ' accoutred '] like a hunter.— /J/i., iii. 2. 
 
 I am not furnished [' appareled,' ' attired '] like a beggar. — Ibid. (Epilogue). 
 
 Semhlahly furnish'd [' accoutred '] like the king. — i H. IV., v. 3. 
 
 Whereof perchance these are hvA furnishings ['outward appendages'] — Lear, iii. i. 
 
 Now will I stir this gamester [' mettlesome young spark,' ' forward young fellow ']. — 
 As You L., i. I. 
 
 A common gamester [' prostitute '] to the camp. — All's W., v. 3. 
 
 Love not a gaping [' loud-voiced,' ' noisy,' ' discordant,' ' yelling '] pig . . . cannot 
 abide a gaping pig — Mer. of V., iv. i. 
 
 With fatal mouths gaping [' open-jawed,' ' wide-stretched,' and ' roaring '] on girded 
 Harfleur.— H. V., iii. (Chorus). 
 
 Leave your gaping [' roaring,' ' shouting,' ' bawling ']. — H. VIII., v. 3. 
 
 Who never leave gaping [' stretching their jaws and roaring or bawling'] till they 've 
 swallowed the whole parish. — Per., ii. i. 
 
 Break the heart of generosity ['nobility,' 'those of high rank'], and make bold 
 power look pale. — Coriol., i. i. 
 
 The generous [' high-born,' ' nobly ranked '] and gravest citizens. — M.for M., iv. 6. 
 
 The generous [' distinguished,' ' high-born '] islanders. — Oth., iii. 3. 
 
 He 's gentle [' well born,' ' noble '], and not fearful. — Temp., i. 2. 
 
 He said he was gentle ['well born,' 'of superior race and rank'], but unfortunate. — 
 Cym., iv. 2. 
 
556 THE SHAKESPEARE KEY. 
 
 To show us so much gentry [' gentihty,' ' gentleness,' ' courtesy '] and good will. — 
 Hamlet, ii. 2. 
 
 All gilt [' ruddy.' See " Golden " thus used as applied to blood, under the present 
 heading] with Frenchmen's blood. — John, ii. 2. 
 For Xhe gilt ['gold,' ' gold coin '] of France. — H. V., ii. {Chorus). 
 More laud than gilt [' gold '] o'er-dusted. — Tr. <&> Cr., iii. 3. 
 Take a pride to gird [' gibe,' ' jeer '] at me. — 2 H. IV., i. 2. 
 He will not spare to gird [' gibe,' ' jeer '] the gods. — Coriol., i. i. 
 Men's reports give [' adjudge,' ' consider '] him much wrong'd. — Ant. &• C, i. 4. 
 Thus given [' granted,' ' permitted '] Hydra here to choose. — Coriol., iii. i. 
 Than may be given [' granted,' ' allowed '] you. — Hamlet, i. 3. 
 Is the desire th3.t's glorious ['high-raised,' ' exalted']. — Cym., i. 7. 
 They whom youth and ease have taught to gloze [' talk speciously,' ' insinuate,' 
 'flatter'].— iJ. //., ii. i. 
 
 Unjustly gloze [' speciously set forth,' ' misconstrue,' ' misinterpret,' ' misrepresent '] 
 to be the realm of France. — H. V., i. 2. 
 
 I will gloze [' talk speciously,' ' beguilingly,' ' insinuatingly,' ' conciliatingly '] with 
 him. — Per., i. i. 
 
 Have glozed ['talked speciously,' 'argued plausibly'], but superficially. — 
 Tr. &■ Cr., ii. 2. 
 
 Lay these glozes [' special pleadings,' ' sophistical representations '] by. — Love's 
 L.L., iv. 3. 
 
 His silver skin lac'd with his golden [' ruddy '] blood. — Macb., ii. 3. 
 With as few good [' brave,' ' spirited '] deeds. — H. V., iii. 2. 
 
 Antonio is a good man [' man of credit,' ' man of reputed wealth and substance '] 
 ... in saying he is a good man. — Mer. of V., i. 3. 
 
 The patricians, good [' of good credit,' ' of substantial possession ']. — Coriol., i. i. 
 As oar good [' advantage,' ' interest,' ' profit,' ' benefit'] wills. — Ibid., ii. i. 
 Some good ['valid,' 'substantial,' 'real,' 'unfeigned'] necessity touches his friend. 
 — Timon, ii. 2. 
 
 If they have any g-oodweii ['justice,' 'righteousness,' 'candour'], the trial just and 
 noble.— iJ. VIII., ii. 2. 
 
 That goodness [' justice,' ' righteousness,' ' virtue '] of gleaning. — Ibid., iii. 2. 
 I have commended to his goodness [' favour,' ' propitiousness '] the model of our 
 chaste loves, his young daughter. — Ibid., iv. 2. 
 
 And the chance oi goodness ['success,' 'favourable issue,' 'justice.' See Varied 
 Me.'^nings, &c.] be like. — Macb., iv. 3. 
 
 What the good-year [' pestilence,' ' plague ' : an ironical form of the Italian 
 imprecation, mal anno], my lord ! — M. Ado, i. 3. 
 The good years [' pestilence '] shall devour them. — Lear, v. 3. 
 
 My fame is shrewdly gor'd [' bloodily torn,' ' wounded ' as by the horn of an animal ; 
 and ' smirch'd,' ' polluted,' ' soiled,' as derived from the Saxon word gor, ' dirt,' ' mud,' 
 'filth'].— Ty. &-Cr.,iii. 3. 
 
 Gor'd [' torn,' ' wounded,' and ' smirched,' ' soiled,' ' polluted'] mine own thoughts. 
 — Sonnet no. 
 
 'Tis government ['self-control,' 'modest submission and discretion,' 'moral dis- 
 cipline '] that makes them seem divine. — 3 H. VI., i. 4. 
 
 Wife-like government [' discretion,' ' modest deportment,' ' self-control,' ' moral 
 discipline '], obeying in commanding. — H. VIII., ii. 4. 
 
 Put your grace [' virtue '] in your pocket, sir. — Tw. N., v. i. 
 
 Mickle is the powerful grace [' virtuous property '] that lies in herbs. — R. &• ful., ii. 3. 
 One shamed that was ntyer gracious [' graced by fortune,' ' favoured by destiny']. — 
 As You L., i. 2. 
 Not such a gracious [' well-graced by nature '] creature born. — yohn, iii. 4. 
 
PECULIAR USE OF WORDS. 557 
 
 Antonio, gratify [' recompense,' ' reward '] this gentleman. — Mer. of V., iv. i. 
 
 As we do gratify [' recompense,' ' reward by handsome treatment '] this gentleman. 
 — Tain, of S., i. 2. 
 
 This grave [' fatal,' ' deadly,' ' destructive '] charm. — Ant. <&■ C, iv. lo. 
 
 When you were gravelled [' stuck fast,' ' brought to a standstill,' ' run aground '] 
 for lack of matter. — As You L., iv. i. 
 
 Come, come, you talk greasily [' grossly,' ' coarsely ']. — Love's L. L., iv. i. 
 
 And greasy [' foul,' ' gross,' ' coarse '] reliques of her o'er-eaten faith. — Tr. 
 &• Cr., V. 2. 
 
 My heart as great ['haughty,' ' swelHng,' 'unsubmissive.' See "Big" under the 
 present heading]. — Tarn, of S., v. 2. 
 
 That folly and green [' immature,' ' inexperienced '] minds look after. — 0th., ii. i. 
 
 Be jogging whiles your boots are green [' freshly greased ']. — Tarn, of S., iii. 2. 
 
 Since griefs are green [' fresh,' ' vividly in remembrance ']. — 2 H. IV., iv. 4. 
 
 The memory be green [' fresh,' ' vivid ']. — Hamlet, i. 2. 
 
 Tybalt, yet but green [' recently'] in earth. — R. &• Jul., iv. 3. 
 
 The promise of his greener [' less mature '] days. — H. V., ii. 4. 
 
 We have done but greenly [' unwisely,' ' with unripe judgment ']. — Hamlet, iv. 5. 
 
 It greets [' it presents itself to,' ' it appears to '] me as an enterprise. — Per., iv. 4. 
 
 Where lies your ^n'e/ [' pain '] ? — John, iv. i. 
 
 To build a grief [' grievance '] on. — 2 H. IV., iv. i. 
 
 And find our griefs [' grievances '] heavier. — Ibid., iv. i. 
 
 No farther the griefs [' grievances '] between ye. — Ant. &• C, ii. 2. 
 
 I '11 speak more gross [' openly,' ' plainly,' ' palpably ']. — M.for M., ii. 4. 
 
 Now to all sense 'tis^rois [' obvious,' ' evident'] you love. — All's IV., i. 3. 
 
 The truth of it stands off as gross [' obviously '] as black from white. — H. V., ii. 2. 
 
 If 'tis not gross [' obvious,' ' evident '] in sense. — 0th., i. 2. 
 
 Who is so gross [' obtuse,' ' dull,' ' stupid '], that cannot see. — R. III., iii. 6. 
 
 This palpable gross [' clumsy,' ' lumbering '] play hath well. — Mid. N. D., v. i. 
 
 Is growing ['accruing,' 'coming as a right'] to me by Antipholus. — Com.of E.,\v. i. 
 
 Knowing how the debt grows [' accrues," ' is owing'] I will pay it. — Ibid., iv. 4. 
 
 No profit grows [' accrues '] where is no pleasure ta'en. — Tam. of S., i. i. 
 
 To guard [' ornament,' ' trim '] a title that was rich before. — John, iv. 2. 
 
 Sometime guarded [' trimmed '] with fragments, and the guards [' ornamental 
 lace orborderings trimmingthe edge'] are but slightly basted on neither. — M. Ado, i. i. 
 
 Give him a livery more guarded [' trimmed,' ' ornamented '] than his fellows. — 
 Me-r. of v., ii. 2. 
 
 To invest and cover in ^nestXy guards ['trimmings']. — M.for M., iii. i. 
 
 As that ungentle gull ['callow bird,' 'unfledged nestling'], the cuckoo's bird. — 
 I H. IV.. V. I. 
 
 Timon will be left a naked gull [' unfledged bird ' and ' dupe '].—Timon, ii. i. 
 
 Oh, gtdl [' dupe'] ! oh, dohl— 0th., v. 2. 
 
 I should think this a. gull [' trick,' ' imposture'] but. — M. Ado, ii. i. 
 
 I will gyve [' fetter,' ' shackle '] thee in thine own courtship. — Oth., ii. i. 
 
 Convert his gyves [' fetters,' ' restraints '] to graces. — Hamlet, iv. 7. 
 
 I cannot do it better than in gyves [' fetters ']. — Cym., v. 4. 
 
 Against the hair [' nature,' ' quality'] of your professions. — Merry W., ii. 3. 
 
 The quality and hair [' nature,' ' character '] of our attempt. — i H. IV., iv. i. 
 
 Or the blank verse shall halt [' be imperfect '] for't. — Hamlet, ii. 2. 
 
 So bang'd the Turks, that their designment halts [' suffers check,' ' is rendered 
 imperfect']. — Oth., ii. i. 
 
 And by the happy [' opportune,' ' fortunately found '] hollow of a tree escap'd.— 
 Lear, ii. 3. 
 
558 THE SHAKESPEARE KEY. 
 
 Tell him wherein you 're happy [' accompHshed,' ' gifted ']. — Cym., iii. 4. 
 
 He doth fill fields with harness [' armour '] in the realm. — i H. IV., iii. 2. 
 
 At least we '11 die with harness [' armour '] on our backs. — Macb., v. 5, 
 
 This harness'd [' armed,' ' clad in armour '] mask. — John, v. 2. 
 
 Restrain'd, and out oi haunt [' company,' ' general concourse ']. — Hamlet, iv. 1. 
 
 In a riotous head ['force,' ' throng'] o'erbears. — Ibid., iv. 5, 
 
 By raising of a head ['collective force,' 'insurrectionary body of men'j. — 
 
 1 H. IV., i. 3. 
 
 Let our best heads [' chiefs,' ' principal officers '] know. — Ant. &• C, iv. i. 
 
 Hearken [' inquire,' ' endeavour to obtain the knowledge of] after their offence {See 
 Bacon's " Essay on Plantations "). — M. Ado, v. i. 
 
 Well, hearken [' wait for,' ' bide the coming of] the end. — 2 H. IV., ii. 4. 
 
 Daughter, whom you hearken ['hanker,' ' desire eagerly'] for. — Tarn, of S., i. 2. 
 
 Said I hearken'd [' longed,' ' desired,' ' hankered '] for your death. — i H. IV., v. 4. 
 
 Old Gremio is AeayA««jn^ [' eaves-dropping,' and ' hankering after,' 'anxiously seeking 
 to obtain '] still.— Tarn, of S., iv. 4. 
 
 Boldness comes to me now, and brings me heart [' courage ']. — Tr. &■ Cr., iii. 2. 
 
 Restores his heart [' spirit,' ' courage,' 'valour ']. — Ant. &> C, iii. 11. 
 
 Beguil'd me to the very heart [' core,' ' depth '] of loss. — Ibid., iv. 10. 
 
 The heart [' central point'] and place of general wonder. — Per., iv. (Gower). 
 
 The heat [' course,' ' race,' ' chase,' ' pursuit.' See Idioms for " Heat '' thus used] :s 
 past; follow no farther. — 2 H. IV., iv. 3. 
 
 In heavy [' griev'd '] satisfaction [' conviction ']. — All's W., v. 3. 
 
 On the heavy [' dark'] middle of the night. — M.forM., iv. i. 
 
 It is a heavy [' grievous ' and ' dark '] night. — 0th., v. i. 
 To help [' cure,' ' heal '] him of his blindness, 
 And being help'd [' cured'] inhabits there. — Two G.of V., iv. 2 (Song). 
 
 Not helping [' healing,' ' curing'], death's my fee ; 
 But if I help [' cure '], what do you promise me ? — AlVs W., ii. i. 
 
 Ye shall have a hempen caudle then, and the help ['cure,' ' healing'] of hatchet. — 
 
 2 H. VI., iv. 7. 
 
 Though what they do impart 
 Help [' heal '] nothing else, yet do they ease the heart. — R. III., iv. 4. 
 I, sick withal, the help ['cure,' ' healing '] of bath desir'd. — Sonnet 153. 
 
 We rest your hermits [' beadsmen,' ' persons dedicated to constant prayer on your 
 behalf'].— A/nc6., i. 6. 
 
 Flouting ; we cannot hold [' hold back,' ' refrain ']. — As You L., v. i. 
 
 Doth the news hold [' hold good,' ' remain uncontradicted '] of good. — R. III., ii, 3. 
 
 Dost thou hold f keep to,' ' abide by '] there still ? — Ant. &• C, ii. 5. 
 
 Holy [' righteous,' ' virtuous,' ' of good character and blameless life '] Gonzalo, 
 honourable man. — Temp., v. i. 
 
 Holy [' virtuous,' ' good '], fair, and wise is she. — Two G. of V., iv. 2 (Song). 
 
 You have a holy [' good,' ' virtuous '] father, a graceful gentleman. — W. T., v. i. 
 
 I will pay thy graces home [' fully '], both in word and deed. — Temp., v. i. 
 
 To know her estimation home [' fully,' ' thoroughly']. — All's W., v. 3. 
 
 That, trusted home [' fully,' 'to the utmost extent.' See Idioms for " Home" thus 
 used] might yet enkindle you unto the crown. — Macb., i. 3. 
 
 But you say she 's honest [' pure,' ' chaste ']. — All's W., iii. 6. 
 
 An honest [' creditable,' ' honourable '] man and a good housekeeper. — Tie. N., iv. 2. 
 
 Honest [' auspicious,' ' lucky ' : with reference to the dies honestissimus of Cicero, 
 as employed in the old English almanacks, which put down lucky and unlucky days, 
 &c.] ! good fellow, what's that ? If it be a day fits you, search. — Per., ii. i. 
 
 All her deserving is a reserved honesty [' purity,' ' chastity ']. — All's W., iii. 5. 
 
 'Tis now your honour [' honourable duty or task '], daughter, to explain. — Per., ii. 2. 
 
PECULIAR USE OF WORDS. 559 
 
 The rabblement hooted [' hurrahed,' ' howled approval ']. — jful. C, i. 2. 
 
 The people fall a-hooting [' shouting approval 'J. — Love's L. L., iv. 2 (Verses). 
 
 In hooting [' shouting approval '] at Coriolanus' exile.— CoWoZ., iv. 6. 
 
 I cannot hope [' expect'] Caesar and Antony shall. — Ant. &• C, ii. i. 
 
 Centaur, where we host [' take up our quarters.' See Parts of Speech Diversely 
 Used]. — Com. of £., i. 2. 
 
 Take the shadow of this tree for your good host [' shelter,' ' protection ']. — Lear, v. 2. 
 
 A most humorous ['full of strange whimsical fancies and cynical notions J 
 sadness. — As You L., iv. i. 
 
 No marvel he's so humorous ['wayward,' 'eccentric,' 'whimsical']. — i H. i'K.,iii. i. 
 
 As humorous [' waj-ward,' ' petulant '] as winter. — 2 H. IV., iv. 4. 
 
 A humorous [' petulant,' ' testy '] patrician. — CorioL, ii. i. 
 
 Consorted with the humorous [' humid,' ' teeming with damp vapours,' and ' full of 
 strange humours and whimsical fancies '] night. — R. &• jful., ii. i. 
 
 Naught but humour [' caprice,' ' waywardness '] sways him. — Timon, iii. 6. 
 
 Dishonour shall be humour [' hasty temperament,' ' petulance ']. — jful. C, iv. 3. 
 
 How to humour [' bend the inclination of,' ' bring round the liking of,' ' induce,' 
 ' manage '] your cousin, that she shall fall in love. — M. Ado, ii. i. 
 
 I would humour [' propitiate '] his men with the. — 2 H. IV., v. i. 
 
 He should not humour [' influence disposition,' ' sway inclination '] me. — yul. C, i. 2. 
 
 So neighbour'd to his youth and humour ['inclination,' ' disposition']. — Hamlet, ii. 2. 
 
 Were he in favour, as in humour ['disposition,' ' character'], alter'd. — 0th., iii. 4. 
 
 We '11 go dress our hunt [' game,' ' that which has been hunted ']. — Cym., iii. 6. 
 
 Your serving-man and your husband [' husbandman '] . — 2 H. IV., v. 3. 
 
 While I play the good husband [' economist '] at home. — Tarn, of S., v. i. 
 
 Borrowing dulls the edge of husbandry ['economy']. — Hamlet, i. 3. 
 
 'Tis not our husbandry [' diligence,' ' assiduity,' ' economical prudence ']. — Per., iii. 2. 
 
 Brier, or idle [' profitless,' ' good for nothing'] moss. — Com. of E., ii. 2. 
 
 You said that idle [' profitless,' ' worthless '] weeds. — R. III., iii. i. 
 
 Vast and deserts id/s ['unprofitable,' 'unfertile,' 'unproductive,' 'unfruitful,' 'barren,' 
 ' sterile'].— OWi., i. 3. 
 
 Heaven cease this idle [' senseless '] humour in . . . but very idle [' senseless,' 
 ' meaningless '] words. — Tam. of S., Indue. 2. 
 
 An idle ['futile,' 'senseless,' ' given to meaningless babble,' 'crack-brained'] lord. 
 I swear. — All's IF., ii. 5. 
 
 In his idle ['wild,' 'rash,' 'impetuous,' and 'inconsiderate,' 'light-minded'] fire. — 
 Ibid; iii. 7. 
 
 I am no idle [' meaningless,' ' inconsiderate,' ' insensate'] votarist. — Timon, iv. 3. 
 
 I must be idle [' meaningless in manner,' ' crazy, insensate, and purposeless in 
 behaviour ']. — Hamlet, iii. 2. 
 
 I begin to find an idle [' senseless '] and fond. — Lear, i. 2 (Letter). 
 
 If idle [' futile,' ' vain,' ' superfluous '] talk will once be necessary. — Ant. &■ C, v. 2. 
 
 In ignorant [' uncommunicative,' ' uninforming '] concealment. — W. T., i. 2. 
 
 This ignorant [' unknowing,' ' uninformed,' ' unconscious '] present. — Macb., i. 5. 
 
 Myself, the ignorant [' unconscious,' ' unknowing '] motive. — Ant. &■ C, ii. 2. 
 
 I am ignorant [' resolved to appear unconscious or unknowing '] in what I am 
 commanded. — Cym., iii. 2. 
 
 Where ill [' bad,' ' evil,' ' wicked '] men were. — Ibid., v. 5. 
 
 My shipwreck's now no ill [' evil '], since I. — Per., ii. i. 
 
 Without the illness [' evilness,' ' badness,' wickedness '] should attend it. — Macb., i. 5. 
 
 With any branch or image [' representative,' ' relative,' ' one who bears any 
 resemblance or aSinity'] of thy state. — All's W., ii. i. 
 
 From any image [' shadow '] of offence done to any man. — Tw. N., iii. 4. 
 
Sfio THE SHAKESPEARE KEY. 
 
 The image [' created earthly semblance '] of his Maker. — H. VIII., iii. 2. 
 
 Looking on his images [' offspring,' ' children who resemble him ']. — R. III., ii. 2. 
 
 On objects, arts, and imitations [' simulations of fairness and truth ']. — yul. C, iv. i. 
 
 Did I impale [' encircle '] him with the regal crown. — 3 H. VI., iii 3. 
 
 Round impaled [' encircled'] with a glorious crown. — Ibid., iii. 2. 
 
 Do I impart [' confer,' 'bestow,' ' dispense '] towards you.— Hamlet, i. 2. 
 
 In this I'll be impartial ['not taking part,' 'remaining neutral'] : be you judge of 
 your own cause. — M.for M., v. i. 
 
 Which would be great impeachment [' imputation,' ' ground of reproach,' and ' hind- 
 ranee,' ' drawback,' ' detriment ' : French, empcchement] to his age. — Two G. of V,, i. 3. 
 
 March on to Calais without jm*eac/i»je«f ['hindrance,' 'obstruction,' 'impediment']. — 
 H. v., iii. 6. 
 
 Devis'd impeachments [' accusations '] to imprison. — R. III., ii. 2. 
 
 What occasion of import ['importance,' 'moment,' 'consequence'] hath. — Tarn. 
 ofS., iii. 2. 
 
 For some purpose of import ['importance']. — 0th., iii. 3. 
 
 At Sir Toby's great importance [' importunacy,' 'entreaty']. — Tw. N., v. i. 
 
 Could not say if the importance [' import,' ' occasioning cause '] were joy or sorrow. — 
 W. T., V. 2. 
 
 Upon importance [' import,' ' matter,' ' subject,' ' cause'] of so slight. — Cym., i. 5. 
 
 His important ['importunate'] blood will. — All's W., iii. 7. 
 
 My mourning and important [' importunate '] tears hath pitied. — Lear, iv. 4. 
 
 I will search impossible [' the most unlikely,' ' the most absurdly improbable '] places. — 
 Merry W., iii. 5. 
 
 In devising impossible [' ludicrously improbable,' ' difficult of belief] slanders. — 
 .1/. Ado, ii. I. 
 
 Jest upon jest, with such impossible [' almost incredible '] conveyance. — Ibid., ii. i. 
 
 Ever believe such impossible ['wildly incredible,' 'ridiculously improbable'] passages 
 of grossness. — Tw. N., iii. 2. 
 
 Our imputation [' imputed excellence,' ' attributed merit.' See " Attribute " and 
 "Attributive" under the present heading] shall be oddly pois'd. — Ty. &• Cr., i. 3. 
 
 In the imputation [' attributed merit,' • imputed excellence '] laid on him. — 
 Hamlet, v. 2. 
 
 And would incense [' instigate,' 'incite '] me to murder. — W. T., v. i. 
 
 Your hrolher incensed [' incited'] me to slander. — M. Ado, v. i. 
 
 Make him by inch-meal [' an inch at a time '] a disease ! — Temp., ii. 2. 
 
 Though inclination [' desire '] be as sharp as will. — Hamlet, iii. 3. 
 
 The inclining [' compliant,' ' kindly disposed '] Desdemona. — 0th., ii. 3. 
 
 We will include [' close in,' ' put to conclusion '] all jars. — Two. G. of V., v. 4. 
 
 Everything includes [' closes,' ' shuts,' ' narrows,' ' compresses,' ' reduces '] itself in 
 power. — Tr. &• Cr., i. 3. 
 
 That the inclusive [' closing in,' ' encircling '] verge. — R. III., iv- i. 
 
 Which they will climb incontinent [' incontinently,' ' immediately ']. — As You L., v. 2. 
 
 He will return incontinent [' immediately']. — 0th., iv. 3. 
 
 With an indifferent [' impartial '] eye. — R. II., ii. 3. 
 
 No judge indifferent [' impartial ']. — H. VIII., ii. 4. 
 
 As the indifferent [' averagely well treated,' ' impartially used '] children of the 
 earth. — Hamlet, ii. 2. 
 
 Though indirect ['wrongful,' 'unrighteous'], yet indirection ['unrighteousness'] 
 thereby grows direct [' righteous ']. — John, iii. i. 
 
 Haste so indirectly [' wrongfully,' ' unrighteously '] shed. — Ibid., ii. i. 
 
 Man, and best indu'd [' endowed,' ' gifted ']. — H. V., ii. 2. 
 
 And indu'd [' endowed with qualities that fitted her,' 'gifted with powers that quali- 
 fied her '] unto that element. — Hamlet, iv. 7. 
 
PECULIAR USk OF WORDS. 561 
 
 And it indues [' endows,' ' gifts '] our other. — 0th., iii. 4. 
 
 A nature but infected ['diseased,' 'morbid,' 'poisoned by reverse and disappoint- 
 ment '] ; a poor. — Tinion, iv. 3. 
 
 These poor informal ['.deranged,' 'of disordered intellect.' See " Formal " under 
 the present heading] women are no more but. — M. for M., v. i. 
 
 And thought I stood ingag'd ['pledged']. — All's W., v. 3. 
 
 Learning and ingenious [' intellectual,' ' scientific '] studies. — Tarn, of S., i. i. 
 
 And have ingenious [' intelligent,' ' acutely perceptive,' ' keenly appreciative '] feeling 
 of my huge sorrows ! — Lear, iv. 6. 
 
 Ingeniously [' ingenuously,' ' sincerely '] I speak. — Timon, ii. 2. 
 
 If trembling I inhabit [' remain within doors,' ' stay in any habitation or inhabited 
 place '] then, protest me. — Macb., iii. 4. 
 
 All which it inherit [' possess '] shall dissolve. — Temp., iv. i. 
 
 Or else nothing, will inherit [' obtain possession of] her. — Two G. of V., iii. 2. 
 
 That can inherit [' possess '] us so much as of a thought. — R. II., i. i. 
 
 But to the girdle do the gods inherit [' possess ']. — Lear, iv. 6. 
 
 Yet am I inland [' urbanely,' ' polishedly,' ' refinedly '] bred. — As You L., ii. 7. 
 
 In his youth an inland [' dwelling in civihsed and refined places'] man. — Ibid., iii. 2. 
 Thou most beauteous inn [' dwelling-place,' ' habitation '], 
 Why should hard-favour'd grief be lodg'd in thee. — R. II., v. i. 
 
 My desires had instance [' plea'] and argument to. — Merry W., ii. 2. 
 
 Gives me this instance [' intimation ']. — M.for M., iv. 3. 
 
 I have receiv'd a certain instance [' intimation,' ' information,' ' assurance '] that 
 Glendower is dead. — 2 H. IV., iii. i. 
 
 An old, an old instance [' maxim,' ' axiom '], Beatrice. — M, Ado, v. 2. 
 
 What instance [' axiom '] for it? — Tr. &> Cr., v. 11. 
 
 Any tragic instance [' indication '] of our harm. — Com. of E., i. i. 
 
 A better instance [' token,' ' evidence'], come. — As You L., iii. 2. 
 
 Wherefore, what 's the instance [' proof,' ' evidence,' ' that which is to be brought 
 forward or instanced '] ? — All's W., iv. i. 
 
 Examples of every minute's instance [' occurring proof,' ' evidence,' ' manifestation "1. 
 —2 H. IV., iv. I. 
 
 What instance [' ground of evidence,' ' testifying circumstance '] gives Lord War\vick 
 for his vow ? — 2 H. VI., iii. 2. 
 
 His fears are shallow, without instance [' cause,' ' ground,' ' basis']. — R. III., iii. 2. 
 
 Instance [' evidence'], oh, instance! strong as. — Tr. &• Cr., v. 2. 
 
 It sends some precious instance [' token,' ' manifestation '] of itself after the thing it 
 loves. — Hamlet, iv. 5. 
 
 So far exceed all instance [' example ']. — Tw. N., iv. 3. 
 
 Gave thee no instance [' motive,' ' reason '] why. — H. V., ii. 2. 
 
 And instances [' evidences '] as infinite of love. — Two G. of V., ii. 7. 
 
 Offer them instances [' proofs,' ' evidences']. — M. Ado, ii. 2. 
 
 But not with such familiar instances [' tokens,' ' manifestations,' ' earnest enforce- 
 ments '], nor with. — jful. C, iv. 2. 
 
 Wise saws and modern instances [' axioms,' 'adages']. — As You L., ii. 7. 
 
 Had lack'd a master, but for these instances [' causes,' ' reasons '].^Tr. &• Cr., i. 3. 
 
 The instances ['motives,' ' grounds of inducement'] that second marriage move. — 
 Hamlet, iii. 2. 
 
 A most intelligencing ['carrying intelligence,' 'conveying information'] bawd! — 
 W. T., ii. 3. 
 
 And dare not be intelligent [' explicit,' ' communicative,' ' conveyant of intelligence "] 
 to me ? — Ibid., i. 2. 
 
 Spies and speculations intelligent [' knowing,' ' cognisant,' and ' conveying intel- 
 ligence '] of our state. — Lear, iii. i. 
 
 2 
 
562 THE SHAKESPEARE KEY. 
 
 An intelligent [' knowing ' and ' communicating '] party to the advantages of 
 France. — Lear, iii. 5. 
 
 Our posts shall be swift and intelligent [' conveyant of intelligence,' ' communicative 
 of iritelligence '] betwixt us. — Ibid., iii. 7. 
 
 How intend [' mean,' ' interpret,' understand '] you, practis'd ? — Ant. &• C, ii. 2. 
 
 Intend ['pretend,' 'affect'] a kind of zeal. — M. Ado, ii. 2. 
 
 I intend [' pretend '] that all is done in reverend care. — Tarn, of S.. iv. i. 
 
 That is intended [' understood,' ' implied '] in the general's name. — 2 H. IV., iv. i. 
 
 Intending ['pretending'] deep suspicion. — R. III., iii. 5. 
 
 And so intending [' pretending '] other serious matters.^Timon, ii. 2 
 
 But what I protest intendment [' intention '] of doing. — 0th., iv. 2. 
 
 Vol intermission ['pause,' 'interposition of time,' 'hesitation'] no more pertains to 
 me, my lord, than you. — Mer^ of V., iii. 2. 
 
 Cut short all intermission [' pause,' ' interposition of time," ' interval of suspense 'j . — 
 Macb., iv. 3. 
 
 Which are too intrinse [' intricate '] t' unloose. — Lear, ii. 2. 
 
 This knot intrinsicate [' intricate'] of life at once untie. — Ant. &• C, v. 2. 
 
 Take the cruel issue [' deed,' ' act,' ' procedures '] of these bloody men. — jfiil. C, iii. i. 
 
 Therefore your issues [' acts,' ' deeds,' ' procedure '], being foolish. — Cym., ii. 2. 
 
 A princess, no worse issu'd [' descended by birth ']. — Temp., i. 2. 
 
 But issu'd [' descended by birth '] from the progeny of kings. — i H. VI., v. 4. 
 
 Take hence this yack ['fellow': used contemptuously. S« Particular Names], 
 and whip him. — Ant. &• C, iii. 11. 
 
 Braggarts, Jacks ['fellows,' 'jackanapes'], milksops! — -V. Ado, v. i. 
 
 And be noi jealous ['suspicious,' 'doubtful,' 'mistrustful'] on me. — jul. C, i. 2. 
 
 But o\iT jealousy [' suspicion,' ' mistrust '] does yet depend. — Cym., iv. 3. 
 
 That giants may jet [' strut,' ' stalk '] through. — Ibid., iii. 3. 
 
 How he jets [' struts,' ' walks pompously '] under his advanced plumes ! — Tw. N., ii. 5. 
 
 I see ths jewel [' ornament '] best enamelled. — Com. of E., ii. i. 
 
 Wear this jewel [' ornament '] for me, — 'tis my picture. — Tw. N., iii. 4. 
 
 He 's for a jig [' ballad '], or a tale of bawdry. — Hamlet, ii. 2. 
 
 Do with these jigging [' rhyming,' ' ballad-making '] fools ? — yiil. C, iv. 3. 
 
 Make friends of them, jointing ['joining in confederacy,' ' combining conjointly '] 
 their force 'gainst Caesar. — Ant. &• C., i. 2. 
 
 They may jolt [' strike,' ' clash,' ' knock '] horns together. — All's W., i. 3. 
 
 Hath made his journal [' daily'] greeting. — M.for M., iv. 3. 
 
 Stick to yoni journal [' daily '] course. — Cym., iv. i. 
 
 But his jfovial [' Jove-like '] face. — Ibid., iv. 2. 
 
 Our yovial [' Jove-named,' ' Jupiter-styled '] star reign'd at his birth. — Ibid., v. 4. 
 
 How the knave jowls [' hurls the cheek-bone of] it to the ground. — Hamlet, v. i. 
 
 yoy'd [' glad,' 'joyful,' ' happy'] are we, that you are. — Cym., v. 5. 
 
 Shall have judicious ['judicial'] hearing. — Coriol., v. 5. 
 
 To jump [' risk,' 'hazard,' 'jeopardise'] a body with adangerous physic. — Ibid., iii. i. 
 
 We 'djump [' risk '] the life to come. — Macb., i. 7. 
 
 Oi jump [' risk,' ' hazard '] the after-enquiry. — Cym., v. 4. 
 
 Our fortune lies upon this_7«m^ [' chance,' ' venture,' ' risk ']. — Ant. &• C, iii. 8. 
 
 Do cohere and jump [' coincide,' ' concur '], that I am. — Ta. N., v. i. 
 
 But though they jump [' coincide,' ' agree,' ' consist '] not.— 0th., i. 3. 
 
 So jump ['just immediately,' 'exactly,' 'precisely'] upon this bloody question.— 
 Hamlet, v. 2. 
 
 And bring him jump [' precisely,' ' exactly '] when he. — 0th., ii. 3. 
 
 Seldom or never jumpeth ['accords,' 'consists,' 'corresponds'] with the heart. — 
 R. III., iii. I. 
 
PECULIAR USE OF WORDS. 563 
 
 And in some sort it jumps [' agrees,' ' suits '] with my humour as well as waiting in 
 the court. — i H. IV., i. 2. 
 
 And heie justified [' testified,' ' borne witness to,' ' avouched'] by us, a pair of kings. 
 —W. T., V. 3. 
 
 While greasy Joan doth keel [' cool by clearing off the scum '] the pot. — 
 Love's L. L., v. 2 (Song). 
 
 This place is famous for the creatures of prey that keep [' dwell.' See Idioms for 
 various use of " keep "] upon 't. — W. T., iii. 3. 
 
 Doth Calchas keep [' dwell,' ' reside '] ? — Tr. &• Cr., iv. 5. 
 
 And where they keep [' dwell,' ' reside '], what company. — Hamlet, ii. r. 
 
 Shall I keep [' guard,' 'take care of] your hogs, and eat husks. — As You L., i. i. 
 
 The house doth keep ['guard,' ' take care of] itself — Ibid., iv. 3. 
 
 Cannot keep [' retain,' ' keep in '] the battery. — Ant. &• C, iv. 12. 
 
 Keep [' observe,' ' preserve,' ' maintain,' ' keep up '] leets and law-days. — 0th., iii. 3. 
 
 Call you that keeping [' taking care of,' ' training,' ' educating '] for a gentleman of 
 my birth. — As You L., i. i. 
 
 That keeps [' stays,' ' remains,' ' dwells,' 'resides '] here in court. — Love's L. L., iv. 3. 
 
 While he himself keeps [' remains,' ' stays '] in the cold field ? — 3 Ht VI., iv. 3. 
 
 The Earl of Pembroke keeps [' remains with '] his regiment. — R. III., v. 3. 
 
 That thy spirit which keeps [' guards,' ' protects,' ' guides '] thee. — Ant. &• C, ii. 3. 
 
 This habitation, where thou keep' st [' dwellest,' 'keepest station'], hourly afiiict. — 
 M.for M., iii. i. 
 
 Poor house, that keep'st [' guardest,' ' takest care of] thyself. — Cym., iii. 6. 
 
 Men, that I have kept [' kept company,' ' dwelt'] withal. — Two G. of V., v. 4. 
 
 Cur that ever kept [' dwelt,' ' associated '] with men. — Mer. of V., iii. 3. 
 
 Where the madcap duke his uncle kept [' dwelt,' 'resided']. — i H. IV., i. 3. 
 
 Long kept [' maintained '] in Bretagne at our mother's cost. — R. III., v. 3. 
 
 If the cat will after kind [' nature']. — As You L., iii. 2 (Verses).. 
 
 Your cuckoo sings by kind [' nature']. — All's W., i. 3 (Verses). 
 
 That in their kind [' way,' ' mode,' ' natural fashion '] they speak it. — Ibid., i. 3. 
 
 More than kin and less than kind ['naturally and affectionately attached']. — 
 Hamlet, i. 2. 
 
 Treacherous, kindless [' unnatural '] villain. — Ibid., ii. 2. 
 
 The bishop hath a kindly ['lenient' and 'kinsmanly'] gird. — iH. VI., iii. i. 
 
 Thou hast most kindly [' amiably' and ' aptly '] hit it. — J?. &• yul., ii. 4. 
 
 Or else my kingdom [' kingship,' ' kinghood '] stands on brittle glass. — R. III., iv. 2. 
 
 My good knave [' lad,' ' attendant ' : German, knabe, ' a boy '], Eros . . . my knave. — 
 Ant. &■ C, iv. 12. 
 
 A couple of Ford's knaves [' lads,' ' servants ']. — Merry W., iii. 5. 
 
 With this knife [' dagger '] I '11 help it presently. — R. &• Jul., iv. i. 
 
 Nor by a hired knife ['dagger']. — Ant. &• C, v. i. 
 
 That you know ['recognise'] me not, till time. — Lear, iv. 7. 
 
 Yet to be known [' recognised '] shortens my. — Ibid., iv. 7. 
 
 You and I have known ['been acquainted'], sir. — Ant. &• C, ii. 6. 
 
 We have known [' been acquainted '] together in Orleans. — Cym., i. 5. 
 
 Shall lack [' feel the loss of] you first. — All's W., i. 2. 
 
 And lack [' fail,' ' cease '] not to lose still. — Ibid., i. 3. 
 
 Have sure more lack [' failure,' ' want'] of reason. — M.for M., v. i. 
 
 Your lack [' failure,' ' want '] of love or bounty. — W. T., iv. 3. 
 
 But the feet were lame [' imperfect ']. — As You L., iii. 2. 
 
 Not deficient, blind, or lame [' imperfect'] of sense. — 0th., i. 3. 
 
 Most lame [' imperfect,' ' inefficient '] and impotent conclusion ! — Ibid., ii. i. 
 
 On the lame ['imperfect'] feet of my rhyme. — Per., iv. (Gower). 
 
 2 2 
 
564 THE SHAKESPEARE KEY. 
 
 Made lame * [' imperfect,' ' defective '] by fortune's dearest spite. . . . 
 
 So then I am not lame, poor, nor despis'd. — Sonnet 37. 
 
 Are they not lamely [' imperfectly,' ' inefficiently '] writ ? — Two G. of V., ii. i. 
 
 Speak of my lameness [' imperfection,' ' inefficiency '], and I straight will halt [' be 
 imperfect,' ' inefficient ']. — Sonnet 89. 
 
 The careless lapse [' falling into fault,' ' slip,' ' gliding into error '] of youth and 
 ignorance. — All's W., ii. 3. 
 
 To lapse [' fall into error,' ' commit a fault '] in fulness 
 Is sorer than to lie for need. — Cym., iii. 6. 
 
 If I be lapsed [' found carelessly straying,' ' negligently wandering '] in this place, I 
 shall pay dear. — Tw. N., iii. 3. 
 
 That, lapsed [' blameably negligent '] in time and passion, let 's go by the important 
 acting. — Hamlet, iii. 4. 
 
 That verity would without lapsing [' deviating into error or untruth '] suffer. — 
 Coriol., V. 2. 
 
 Larded [' garnished '] with sweet flowers. — Hamlet, iv. 5 (Song). 
 
 Where hearing should not latch [' catch the sound of,' ' effectually hold in '] them. — 
 Macb., iv. 3. 
 
 For it no form delivers to the heart of bird, of flower, or shape, which it doth latch 
 [' catch the sight of,' ' effectually hold in '].^Sonnei 113. 
 
 Hast thou yet latch'd ['smeared,' 'anointed': French, lecher, 'to lick'] the 
 Athenian's eyes with the love-juice. — Mid. N. £)., iii. 2. 
 
 The world may laugh ['smile auspiciously,' ' wear a favourable aspect'] again. — 
 2 H. VI., ii. 4. 
 
 Had he been lay [' secular,' ' not clerical,' ' of the laity '], my lord. — M.for M., v. i. 
 
 A dreadful lay [' wager,' ' bet,' ' stake '] ! — 2 H. VI., v. 2. 
 
 My fortunes against any lay [' wagered stake '] worth. — 0th., ii. 3. 
 
 When I lay [' lodged,' ' dwelt'] at Clement's Inn. — 2 H. IV., iii. 2. 
 
 With a fearful soul leads [' leads a life of.' See Elliptically Used Words for 
 other verbs employed with similarly inclusive force of effect] discontented steps in. — 
 R. III., iv. 4. 
 
 You must not learn [' teach ' : the original Saxon Iceran meant both to ' teach ' and 
 to ' learn ' ; from Icere, ' knowledge,' ' skill,' ' learning,' which might either be instilled 
 or acquired] me how to remember. — As You L., i. 2. 
 
 And learn [' teach '] me how to lose a winning match. — R. & jful., iii. 2. 
 
 Both do learn [' teach '] me how to respect you. — 0th., i. 3. 
 
 Hast thou not learn'd [' taught '] me how to make. — Cym., i. 5. 
 
 Mercury endue thee with leasing [' lying '], for thou. — Tiv. N., i. 5. 
 
 Almost stamp'd the leasing ['lying']. — Coriol., v. 2. 
 
 To leave [' part with,' ' give away,' ' relinquish '] her token. — Two G. of V., iv. 4. 
 
 Love me and leave [' relinquish,' ' give away '] me not ... he would not leave it. — 
 Mer. of v., v. i. 
 
 I may not leave [' yield,' ' relinquish,' ' resign '] it so. — R. III., iv. i. 
 
 Leave [' cease,' ' desist '] to afflict my heart. — 2 H. VI., ii. i. 
 
 Bid the music leave [' cease,' ' leave off']. — H. VIII., iv. 2. 
 
 Their functions leave [' cease '] to do. — Hamlet, iii. 2. 
 
 Let us leave [' cease,' ' leave off,' ' discontinue this discourse '] here, gentlemen.— 
 Cym., i. 5. 
 
 Here, there, and everywhere he leaves [' leaves them dead ']. — Tr. &' Cr., v. 5. 
 
 * It has strangely been questioned whether this passage does not prove that Shake- 
 speare was a cripple and had a. limping leg or a club-foot ; but, surely, the other 
 passages here collected serve to show the sense in which he often uses the words 
 " lame," "lamely," and "lameness." See also "Halt" and "Halts" under the present 
 heading. 
 
PECULIAR USE OF WORDS. 5^5 
 
 She gives the leer [' side-glance '] of invitation. — Merry W., i. 3. 
 
 A Rosalind of a better leer [' complexion,' ' look,' ' countenance,' ' appearance ' ■ 
 Saxon, hleare, ' face,' 'visage'] than you. — As You L.,iv. i. 
 
 Where you shall be an- everlasting leiger ['permanently resident embassador']. — 
 M. for M., iii. i. 
 
 Unpeople her of leigers [' resident embassadors '] for her svi'eet. — Cym., i. 6. 
 
 They that least lend [' manifestly give '] it you. — All 's W., i. 2. 
 
 Take or lend [' bestow,' ' confer,' ' give voluntarily ']. — Cym., iii. 6. 
 
 To draw it out in length [' prolongation,' ' deferred conclusions ']. — Mer of V., iii. 2. 
 
 There is such length [' prolonged suffering '] in grief. — R. II., v. i. 
 
 All length* [' lingering,' ' deferred conclusion,' ' length of endurance and existence 'J 
 is torture. — Ant. &• C, iv. 12. 
 
 That God had lent f [' conferred or bestowed upon '] us but this only child. — 
 R. &- Jul., iii. 5. 
 
 As heaven had lent [' conferred upon '] her all his grace. — Per., i. [Goitier). 
 
 That I may know the let [' impediment,' ' hindrance,' ' obstacle '] why gentle Peace 
 should not expel. — H. V., v. 2. 
 
 Thy kinsmen are no let [' hindrance '] to me. — R. &• Jul., ii. 2. 
 
 What lets [' hinders,' ' prevents '] but one may enter. — Tw. G. of V., iii. i. 
 
 If nothing lets [' hinders,' ' prevents,' ' impedes '] to make us happy both but this. — 
 Tw. N., V. I. 
 
 I '11 make a ghost of him that lets [' hinders '] me. — Hamlet, i. 4. 
 
 Out of the blank and level [' range,' ' space within aim '] of my brain. — W. T., ii. 3. 
 
 My life stands in the level [' range,' ' space wherein aim can hit '] of your dreams. — 
 Ibid., iii. 2. 
 
 I stood i' the level ['range,' 'space for aim'] of a fuU-charg'd confederacy — 
 H. VIII., i. 2. 
 
 Her acquaintance grew with this lewd [' idle,' ' ignorant,' ' wicked '] fellow. — 
 M. Ado, V. I. 
 
 Detain'd for lewd [' wicked,' ' vile,' ' base 'j employments. — R. II., i. i. 
 
 Such lewd [' idle,' ' foolish,' ' witless,' ' unwise '] , such mean attempts. — i H. IV., iii. 2. 
 
 Is liable ['apt,' 'adaptable'], congruent, and measurable for the afternoon. — 
 — Love's L. L., V. I. 
 
 And reason to my love is liable [' subordinate']. — Jul. C, ii. 2. 
 
 That liberal [' free-spoken '] shepherds give. — Hamlet, iv. 7. 
 
 Profane and liberal [' licentious'] counsellor. — 0th., ii. i. 
 
 I '11 be in speaking liberal [' free,' ' unrestrained '] as the air. — Ibid., v. 2. 
 
 Does he lie [' lodge,' ' sojourn '] at the Garter ? — Merry W., ii. i. 
 
 She must lie [' lodge,' ' dwell,' ' reside,' ' take up abode '] here on mere necessity. — 
 Lovers L. L., i. i. 
 
 There doth my father lie [' lodge,' ' sojourn ']. — Tam. of S., iv. 4. 
 
 Where Lieutenant Cassio lies [' lodges,' ' resides ']. — 0th., iii. 4. 
 
 Short summers lightly [' commonly,' ' ordinarily,' ' usually '] have a forward spring. 
 —R. III., iii. I. 
 
 I weigh it lightly [' as a trifle,' 'slightly ']. — Ibid., iii. i. 
 
 * It has been proposed to change " length " in this passage to ' life ; but the other 
 passages we cite, where Shakespeare employs "length " in a similar sense, show that 
 he probably so used the word here likewise. 
 
 f If " lent " be the correct word in this passage (and it is so given in the Folio 
 and all the Quarto copies excepting the First Quarto, which gives ' sent,' it bears the 
 sense we here assign ; but — considering that Capulet, in act i., sc. 2., says, " earth hath 
 swallow'd all my hopes but she," which conveys the idea that he had had other 
 children who died young — we have an impression that possibly " left " was the word 
 written by Shakespeare in the present passage. 
 
S66 THE SHAKESPEARE KEY. 
 
 And will not lightly [' easily,' ' facilely '] trust the messenger. — Com. of £., iv. 4. 
 
 And believe 't not lightly [' easily,' ' readily']. — Coriol., iv. i. 
 
 But by loving likelihood [' similitude ']. — H. V., v. {Chorus). 
 
 To tear her limb-meal [' a limb at a time,' ' limb from limb.' See " Inch-meal " under 
 the present heading]. — Cym., ii. 4. 
 
 Who gave his blood to lime [' cement'] the stones together. — 3 H. VI., v. i. 
 
 The bird that hath been limed [' caught ' as by bird-lime] . . . where my poor bird 
 was lim'd. — Ibid., v. 6. 
 
 I have limed [' caught,' ' captivated '] her. — Tw. N., iii. 4. 
 
 Limit [' appoint '] each leader to his several charge. — R. III., v. 3. 
 
 There is boundless theft in limited [' appointed,' ' stated,' ' set '] professions. — 
 Timon, iv. 3. 
 
 'Tis my limited ['appointed'] service. — Macb., ii. 3. 
 
 We will not line [' strengthen '] his thin bestained cloak with our pure honours. — 
 yohn, iv. 3. 
 
 Sent for you to line [' strengthen,' 'give sustainment or support to'] his enterprise.— 
 I H. IV., ii. 3. 
 
 Or did line [' strengthen,' ' reinforce,' ' support,' ' sustain '] the rebel with hidden 
 help and vantage. — Macb., i. 3. 
 
 Within the list [' boundary,' ' limit '] of too cold an adieu. — Alls W., ii. i. 
 
 Within the weak list [' limit '] of a country's fashion.^H. V., v. 2. 
 
 The ocean, overpeering of his list [' boundary,' ' limit ']. — Hamlet, iv. 5. 
 
 Confine yourself but in a patient list ['boundary']. — Oth., iv. i. 
 
 Or star, or what I list [' choose,' ' please,' ' desire,' ' like '], or ere I. — Tam. of S., iv. 5. 
 
 When I have list [' inclination,' ' desire '] to sleep. — Oth., ii. i. 
 
 List [' listen to '] a brief tale. — Lear, v. 3. 
 
 List [' listen to'] me. The lieutenant to-night. — Oth., ii. i. 
 
 Ah, you sweet little [with an effect of fondness, and without an effect of smallness] 
 rogue, you. — 2 H. IV., ii. 4. 
 
 For little [with similar effect] England you 'd venture.^H. VIII., ii. 3. 
 
 Be sure you be not loose [' unreticent,' ' unguarded in speech']. — Ibid., ii. i. 
 
 A kind of men so loose [' unreticent,' ' unrestrained,' ' undisciplined '] of soul. — 
 Oth., iii. 3. 
 
 Ere I will yield my virgin patent up unto his lordship [' marital dominion '] . — 
 Mid. N. D., i. I. 
 
 As you swear them lordship ['marital guardianship']. — All's W., v. 3. 
 
 Let Love [' the Queen of love,' ' Venus '], being light. — Com. of E., iii. 2. 
 
 Forerun fair Love [' Venus '], strewing her way. — Love's L. L., iv. 3. 
 
 For the love of Love [' Venus '] and her soft hours. — Ant. &• C, i. 1. 
 
 Tell me. Love's ['Venus's'] master, shall we meet to-morrow? — V. &• Aden., 
 Stanza g8. 
 
 She 's Love [' Venus '], she loves, and yet she. — Ibid., 102. 
 
 Love ['Venus'] lack'd a dwelling, and made him her place. — Lover's Comp., 
 Stanza 12. 
 
 Lustick [' vigorous,' ' robust,' ' active,' ' alert '], as the Dutchman says. — All's W., ii. 3. 
 
 Your dolphin is not lustier [' more vigorous ']. — Ibid., ii. 3. 
 
 Yet I am strong und lusty [' vigorous '] . . . a lusty winter. — As You L., ii. 3. 
 
 He would unhorse the lustiest [' most vigorous '] challenger. — R. II., v. 3. 
 
 Be mad [' wild with high spirits,' ' extravagantly gay '] and merry. — Tam. ofS., iii. 2. 
 
 A mad [' mad-cap,' ' wild-spirited '] fellow met me. — i H. IV., iv. 2. 
 
 How now, mad [' frolicsome,' ' mad-cap '] wag ! — Ibid., iv. 2. 
 
 They will talk of mad [' frolicsome,' ' mad-cap'] Shallow yet. — 2 H. IV., iii. 2. 
 
 The doors are made [' fastened,' ' barred.' See Idioms for " Made '' variously used] 
 against you. — Com. ofE., iii. i. 
 
PECULIAR USE OF WORDS. 5^7 
 
 Our best friends made [' secured '], and our best means. — yul. C, iv. i. 
 
 Goes it against the main [' mainland '] of Poland. — Hamlet, iv. 4. 
 
 Swell the curled waters 'bove the main [' mainland ']. — Lear, iii. i. 
 
 'Twixt the heaven and the main [' ocean,' ' sea ']. — 0th., ii. i. 
 
 Make [' fasten,' ' bar '] the doors upon a woman's wit. — As You L., iv, i. 
 
 Which thou must make [' secure '] thy friends. — 2 H, IV., iv. 4. 
 
 He would shine on those that make [' adjust,' ' form,' ' mould 'J their looks by his. — 
 Ant. <&• C, i. 5. 
 
 Such a wife as my thoughts make [' consider,' ' esteem,' 'believe'] thee.^-Ibid., iii. 2. 
 
 Our fears do make [' cause us to seem.' See Elliptical Style for several instances 
 of " Make ' thus used] us traitors. — Macb., iv. 2, 
 
 Preparation makes [' speeds.' See Idioms] for Cyprus. — 0th., i. 3. 
 
 That which makes [' accomplishes,' ' completes '] him. — Cym., i. 5. 
 
 Fortune did malign ['injure,' ' damage,' ' harm '] my state. — Per., v, i. 
 
 A mankind [ ' masculine,' 'male-sexed '] witch ! — W. T., ii. 3. 
 
 Are you mankind' ['masculine,' 'manlike,' 'mannish,' 'of male kind']? — 
 Coriol., iv. 2. 
 
 If thou never sawest good manners [' conduct,' ' behaviour '] , then thy manners 
 [' morals,' ' ways'] must be wicked. ^^i You L., iii. 2. 
 
 He, a marble ['impenetrable statue'] to her tears. — M.for M., iii. i. 
 
 Who was most marble ['hard-natured,' 'unimpressionable'] there changed colour. — 
 W. T., v. 2. 
 
 Will pierce into a marble [' hard '] heart. — ^3 H. VI., iii. i. 
 
 Now, by yond' marble [' cruel,' ' inexorable '] heaven. — 0th., iii. 3. 
 
 Live you, the marble [' inexorable,' ' impenetrable '] breasted tyrant, still. — 
 Tw. N., V. I. 
 
 If his chief good and market [' purchase made,' ' bargain gained,' ' profit made '] of 
 his time be but to sleep and feed ? — Hamlet, iv. 4. 
 
 Shall I come to you at evening moss [' service,' ' office,' ' prayer,' " evening mass " 
 being here used for 'vespers '] ? — R. &• yuL, iv. i. 
 
 'Tis our match [' compact,' ' agreement ']. — Cym., iii. 6. 
 
 With tender Juliet match'd ['compared'], is now not fair. — R. &• Jul., i. 5 (Chorus). 
 
 Dare mate [' oppose,' ' attack,' ' challenge,' ' impugn '] a sounder man than Surrey 
 can be. — H. VIII., iii. 2. 
 
 I think you are all mated [' confused,' ' bewildered,' ' confounded '] or stark mad. — 
 Com. of E., V. I. 
 
 My mind she has mated [' bewildered,' ' dismayed ]. — Macb., v. i. 
 
 I am amaz'd with matter [' affairs that demand attention ']. — Cym., iv. 3. 
 
 More matter [' substantial speaking,' ' sedately made statement '] , with less art. — 
 Hamlet, ii. 2. 
 
 Oh, matter ['rationally sedate statement'] and impertinency ["-that which is not 
 pertinent,' ' irrelevancy '] mix'd ! — Lear, iv. 6. 
 
 Were he meal'd [' mingled,' ' mixed '] \vith that which he corrects. — M.for M., iv. 2. 
 
 Nay, he can sing a mean [' tenor part.' See Musical Terms]. — Love's L. L., v. 2. 
 
 A measure ['a dignified dance, with slow and measured steps'], full of state and 
 ancientry. — M. Ado, ii. i. 
 
 To tread a measure [' dance '] with you on this grass. — Love's L. L., v. 2. 
 
 Am starv'd for meat [' food'], giddy for lack of sleep. — Tarn, of S., iv. 3. 
 
 What you want in meat [' food '], we '11 have in drink. — 2 H. IV., v. 3. 
 
 You want much of meat f [' food,' ' victuals "]. — Timon, iv. 3. 
 
 * In the present passage, the word " mankind " is used by the asker in this sense, 
 tauntingly ; but is replied to by the answerer in the sense of ' human,' ' of humankind.' 
 
 + The word " meat " in this passage has been variously altered by various emen- 
 dators ; but it is used in its general sense of ' food ' here, as well as in the other pas- 
 sages above cited. 
 
568 THE SHAKESPEARE KEY. 
 
 For meddle [' deal with,' ' engage with him '] you must. — Tw. N., iii. 4. 
 
 Money's a meddler [' dealer '], that doth utter. — W. T., iv. 3 {Song). 
 
 I have seen a medicine [' one who brings remedial aid,' ' healer.' See Things 
 Impersonated] that's able to breathe life into. — All's W., ii. i. 
 
 Meet we the medicine [' healer,' ' physician,' ' one bringing remedial aid '] of the 
 sickly weal. — Macb., v. 2. 
 
 To one so meek [' lowly,' ' subdued,' ' bowed by misfortune ']. — Ant. &• C, v. 2. 
 
 Desire, all recreant, poor, and meek ['brought low,' 'humbled']. — Lucrece, 
 Stanza 102. 
 
 You memory ['memorial'] of old Sir Roland! — As You L., ii. 3. 
 
 A good memory [' memorial '] and witness of the. — Coriol., iv. 5. 
 
 Brought thee to their mercies [' discretionary powers to spare or to destroy ']. — 
 Tw. iV., V. 1. 
 
 Life lies in the mercy [' discretionary power '] of the duke only. — Mer. of V., iv. i. 
 
 The sovereign mercy [' power to spare or condemn '] of the king. — R. II., ii. 3. 
 
 Engag'd my friend to his mere ['thorough,' 'utter,' 'e.xtreme'] enemy. — Mer. 
 of v., iii. 2. 
 
 To the mere [' utter,' ' complete '] undoing of all. — H. VIII., iii. 2. 
 
 Of your mere [' entirely,' ' absolutely '] own. — Macb., iv. 3. 
 
 The mere [' absolute,' 'complete,' 'utter'] perdition of the. — 0th., ii. 2. 
 
 To thy mere [' utter,' ' complete '] confusion. — Cym., iv. 2. 
 
 He being the mered [' absolutely limited,' ' entirely confined,' ' solely included '] 
 question. — Ant. &• C, iii. 11. 
 
 Merely ['absolutely,' 'thoroughly'] our own traitors. — All's W., iv. 3. 
 
 Heaven knows, is merely [' exclusively,' ' absolutely,' ' genuinely '] love. — Timon, iv. 3 ■ 
 
 See where she comes from shrift with merry [' cheerful '] look. — R. &• Jul., iv. 2. 
 
 Say I am merry [' cheerful ']. — Jul. C, iii. 4. 
 
 Tell me of a mess [' portion,' ' quantity,' ' measure '] of porridge. — Merry W., iii. 1. 
 
 To borrow a mess [' measure,' ' quantity'] of vinegar. — 2 H. IV., ii. i. 
 
 Which fate and metaphysical [' supernatural,' ' preternatural,'] aid doth seem. — 
 Macb., i. 5. 
 
 And forth my mimic [' actor '] comes. — Mid. N. D., iii. 2. 
 
 Hold up your head, and mince [' walk demurely']. — Merry W., v. i. 
 
 I know no ways to mince [' talk affectedly, smoothly, or ceremoniously '] in love. — 
 H. v., V. 2. 
 
 Love doth mince [' palliate,' ' smooth '] this matter. — 0th., ii. 3. 
 
 Mince [' palliate,' ' mitigate '] not the general tongue. — Ant. &• C, i. 2. 
 
 That minces [' is affectedly demure in '] virtue. — Lear, iv. 6. , 
 
 Turn two mincing [' demure,' ' affectedly small '] steps. — Mer. of V., iii. 4. 
 
 Nothing so much as mincing [' affected'] poetry. — i H. IV., iii. i. 
 
 Saving your mincing [' affected self-denial,' ' demureness '] . — H. VIII., ii. 3. 
 
 That man might ne'er be wretched for his mind [' generosity of disposition,' ' high- 
 mindedness,' 'liberality of spirit']. — Timon, i. 2. 
 
 Sent to me first, but for my mind's [' understanding's '] sake. — Ibid., iii. 3. 
 
 Do thee wrong to mind [' remind '] thee of it. — H. V., iv. 3. 
 
 I mind [' am in the mind,' ' am disposed or inclined '] to tell him plainlv. — 
 3 H. VI., iv. I. 
 
 I minded ['reminded'] him how royal 'twas. — Coriol., v. i. 
 
 How you stand minded ['disposed'] in the. — H. VIII., iii. i. 
 
 Belike she minds [' is disposed '] to play the Amazon. — 3 H. VI., iv. i. 
 
 We do not come as minding [' wishing,' ' being in the mind '] to content you. — 
 Mid. N. D., V. I (Prologue). 
 
 Minding [' remembering,' ' being reminded of] true things bv what their mockeries 
 be.— H. v., iv. (Chorus). 
 
PECULIAR USE OF WORDS. 5^9 
 
 Not minding [' choosing,' ' being in the mind '] longer to withhold vengeance. — 
 Per., ii. 4. 
 Among a mineral [' metallic vein,' ' lode '] of metals base. — Hamlet, iv. i. 
 Minion [' pet,' ' darling ' : 'used contemptuously] , thou liest. — Tarn, of S., ii. i. 
 But this your minion [' favourite,' ' darling '] whom. — Tw. N., v. i. 
 He covets less' than misery [' miserliness '] itself would give. — Coriol., ii. 2. 
 
 noble misery [' miserable conduct,' ' mean behaviour 'J , to be i' the field, and ask, 
 what news, of me ! — Cym., v. 3. 
 
 Mislike* [' dislike mistakenly,' ' disapprove erroneously '] me not for my complexion. 
 — Mer. of v., ii. i. 
 
 'Tis not my speeches that you do mislike ['affect to dislike'], but 'tis mv presence. — 
 2 H. VI., i. I. 
 
 Setting your scorns and your mislike [' unjust dislike '] aside. — 3 H. VI., iv. i. 
 
 If he mislike [' dislike and take amiss '] my speech, and what is done, tell him. — 
 Ant. &• C, iii. 11. 
 
 You spend your passion on a mispris'd [' mistaken '] mood. — Mid. N. D., iii. 2. 
 
 Misprising [' taking amiss,' ' depreciating,' ' disparaging,' ' despising'] what they look 
 on. — M. Ado, iii. i. 
 
 There is some strange misprision [' mistake,' ' misconception '] in the princes. — 
 Ibid., iv. I. 
 
 Of thy misprision [' mistake '] must perforce. — Mid. N. D., iii. 2. 
 
 Misprision ['mistake'] in the highest degree! — Tw. N., i. 5. 
 
 In vile misprision [' scorn,' ' disdain,' ' depreciation '] shackle up my love and her 
 desert. — AlVs W., ii. 3. 
 
 We cannot miss [' do without '] him. — Temp., i. 2. 
 
 1 should have a heavy miss ['loss,' 'want'] of thee. — i H. IV., v. 4. 
 
 He saith she is immodest, blames her 'miss-\ ['misbehaviour,' 'misconduct']. — 
 V. &• Adon., Stanza g. 
 
 Did gibe my missive [' messenger'] out of audience. — Ant. &• C, ii. 2. 
 
 Came missives ['messengers'] from the king. — Macb., i. 5 [Letter). 
 
 Opinion on my least misuse [' misconduct,' ' misdeed '] . — 0th., iv. 2. 
 
 Wise girls to mock ['use despitefully and disdainfully:' 'treat hardly' as well as 
 ' scoff at,' ' make game of] our lovers so. — Love's L. L., v. 2. 
 
 Misery makes sport to mock [' use tormentingly,' ' treat cruelly,' as well as ' treat 
 disdainfully and scoffingly '] itself. — R. II., ii. i. 
 
 Which doth mock I ['disdain,' 'spurn,' 'tear wrathfully'] the meat it feeds on. — 
 Otii., iii. 3. 
 
 In time the rod becomes more mock'd [' treated disdainfully and derisively '] than 
 fear'd. — M.for M., i. 4. 
 
 For gnarling sorrow hath less power to bite the man that mocks [' treats it harshly 
 and contemptuously '] at it, and sets it light. — R. II., i. 3. 
 
 But a clod and model [' image,' ' copy,' ' representation '] of confounded royalty. — 
 John, V. 7. 
 
 Who was the model [' copy,' 'representation '] of thy father's life. — R. II., i. 2. 
 
 That small model [' portion heaped into the form of the human body '] of the barren 
 earth which serves as paste. — Ibid., iii. 2. 
 
 * In all the four instances where Shakespeare uses this word, he employs it with a 
 shade of meaning different from ' dislike ' ; and therefore it were well to preserve so 
 expressive a word as mislike in our accustomed language. 
 
 f " Amiss " was used in Shakespeare's time for ' misdeed ' ; and he himself uses 
 " amiss " for ' mishap ' in the following passage : — 
 
 Each toy seems prologue to some great amiss. — Hamlet, iv. 5. 
 
 J " IMock " has been changed in the present passage by Hanmer and others, to 
 ' make ' ; but the other instances we have here collected of Shakespeare's use of this 
 word, suffice to show that he probably employed it likewise in the present passage. 
 
57° THE SHAKESPEARE KEY. 
 
 Which was the model [' copy : ' ' modelled upon the pattern '] of that Danish seal. — 
 Hamlet, v. 2. 
 
 Full of wise saws and modern [' common,' ' trite,' ' hackneyed,' ' conventional '] 
 instances. — As You L., ii. 7. 
 
 Betray themselves to every modern [' common,' 'ordinary '] censure. — Ibid., iv. i. 
 
 Scorns a modern [' common,' ' ordinary,' ' usual '] invocation. — Ibid., iii. 4. 
 
 Which modern [' common,' ' ordinary'] lamentation might have mov'd. — R. &• yul., 
 iii. 2. 
 
 Likelihoods of modern [' ordinary '] seeming do. — 0th., i. 3. 
 
 As we greet modern [' ordinary'] friends withal. — Ant. &• C, v. 2. 
 
 How far a modern [' ordinary '] quill doth. — Sonnet 83. 
 
 Joy could not show itself modest [' decorous,' ' moderate '] enough without. — 
 M. Ado, i. I. 
 
 Within the modest ['decorous '] limits of order. — Tw. N., i. 3. 
 
 Reverence to your calling makes me modest [' reticent,' ' forbearing,' ' moderate ']. — 
 H. VIII., V. 2. 
 
 I am doubtful of your modesties ['powers of discretion ']. — Tarn. ofS., Indue, i. 
 
 If it be husbanded with modesty [' moderation,' ' discretion 'J. — Ibid., Indue, i. 
 
 Thy religious truth and modesty [' forbearance,' ' mildness ']. — H. VIII., iv. z. 
 
 Win straying souls with modesty [' moderation,' ' mildness '] again. — Ibid., v. 2. 
 
 In a friend, it is cold modesty ['moderation,' ' reticence,' 'forbearance']. — jful.C, iii. i. 
 
 Follow him thither with modesty ['moderation '] enough. — Hamlet, v. i. 
 
 Methinks my moiety [' portion,' ' share,'] north from Burton. — i H. IV., iii. i. 
 
 A moiety [' portion '] competent was gaged. — Hamlet, i. i. 
 
 Can make choice of either's moiety [' portion,' ' share ']. — Lear, i. i. 
 
 The clear eye's moiety [' portion,' ' share '] and the dear. — Sonnet 46. 
 
 Idly sit to hear my nothings monster d [' made wonders of,' ' lauded as something 
 extraordinary']. — Coriol., ii. 2. 
 
 To monstrous [' unnatural,' ' unwonted,' ' exceptional,' ' extraordinary '] quality . 
 unto some monstrous state. — jful. C, i. 3. 
 
 Goodness and he fill up one monument [' tomb,' ' sepulchre '] ! — H. VIII., ii. i. 
 
 Our monuments [' tombs," ' sepulchres '] shall be the maws of kites. — Macb., iii. 4. 
 
 Who, in my mood [' wrath,' 'resentment'], I stabb'd. — Two G. of V., iv. i. 
 
 As hot a Jack in thy mood [' wrath '] . . . as soon moved to be moody [' wrathful'] , 
 and as soon moody to be moved. — R. &• yul., iii. i. 
 
 But moody [' gloomily pensive '] and dull melancholy. — Com of E., v. i. 
 
 Music, moody [' melancholy,' ' pensive '] food of us that trade in love. — Ant. &• C, ii. 5. 
 
 Will be here with mop [' grimace,'] and mow [' wryed mouth,']. — Temp., iv. i. 
 
 To mope [' wander blindly and blunderingly '] with his fat-brained followers so far 
 out of his knowledge. — H. V., iii. 7. 
 
 Could not so mope [' dully go astray,' ' blindly wander '] . — Hamlet, iii. 4. 
 
 And were brought moping [' dully and bewilderedly straying'] hither. — Temp., v. i. 
 
 Flibbertigibbet, of mopping ['grimacing'] and mowing ['making mouths']. — 
 Lear, iv. i. 
 
 ■you have some moral [' occult signification,' ' pointed meaning '] in this Benedictus. 
 — M. Ado, iii. 4. 
 
 The meaning or moral ['signification '] of his signs. — Tarn, of S., iv. 4. 
 
 I pray thee, moralize [' expound '] them. — Ibid., iv. 4. 
 
 I moralize [' make out,' ' ingeniously frame '] two meanings in one word. — 
 R. III., iii. I. 
 
 Did he not moralize [' deduce a moral from ' ' draw and utter a moral lesson from '] 
 this spectacle? — As You L., ii. i. 
 
 Thou hear'st me moralize [' utter moral deductions '], applying this to that, and so 
 to so. — V. & Adon., Stanza 119. 
 
PECULIAR USE OF WORDS. 
 
 Nor could she moralize [' interpret,' ' discover the meaning of] his wanton sight. — 
 Lucrece, Stanza 15. 
 
 As all is mortal ['subject to death'] in nature, so is all nature mortal ['excessive,' 
 ' abundant '] in folly. — As You L., ii. 4. 
 
 Even to a mortal [' deadly '] arbitrement. — Tw. N., iii. 4. 
 
 That tend on mortal [' deadly '] thoughts.— Macb., i. 5. 
 
 Which to read would be even mortal [' deadly,' ' fatal '] to me. — Cym., iii. 4. 
 
 One mortal [' fatal,' ' deadly'] night drove him to this. — Per., v. i. 
 
 Dumain is mortified [' dead to worldly allurements,' ' ascetic ']. — Love's L. L., i. i. 
 
 Excite the mortified [' ascetic,' ' dead to passion'] man.— Macb., v. 2. 
 
 Oh, excellent motion [' puppet-show '] ! Oh, exceeding puppet ! — Two G. of V., ii. i. 
 
 He compassed a motion [' puppet-show '] of the Prodigal Son. — W. T., iv. 2. 
 
 And he is a motion [' puppet '] ungenerative. — M.for M., iii. 2. 
 
 And are no fairy? motion ['puppet'] ? — Per., v. i. 
 
 But from the inward motion [' intelligential faculty,' ' insight,' ' inspiration '] to 
 deliver. — John, i. i. 
 
 I see it in my motion ['secret impulse of conviction,' 'mental prompting,' 'divinatory 
 insight or inspiration '], have it not in my tongue. — Ant. &• C, ii. 3. 
 
 For there 's no motion [' impulse,' ' inclination '] that tends to vice in man. — 
 Cym., ii. 5. 
 
 I have a motion [' proposal,' ' appeal,' ' solicitation '] much imports your good. — 
 M.for M., V. I. 
 
 I '11 make the motion [' proposal '] : stand here. — Tw. N., iii. 4. 
 
 Unshak'd of motion' [' proposal,' ' appeal,' ' solicitation ']. — jful. C, iii. i. 
 
 Give ear to his motions [' proposals,' ' appeals '], Master Slender. — Merry W., i. i. 
 
 But from sincere motions [' impulses of indignation ']. — H. VIII., i. i. 
 
 To be my motive [' moving power, ' active means,' 'agent,' ' promoter '] and helper 
 to a husband. — All's W., iv. 4. 
 
 Every joint and motive ['portion instrumental in producing motion,' 'motive organ'] 
 of her body.— Tc. &" Cr., iv. 5. 
 
 What 's your dark meaning, mouse [formerly used as a term of endearment or 
 familiarity], of this light word ? — Love's L. L., v. 2. 
 
 Good my mouse [similarly used] of virtue. — Tw. N., i. 5. 
 
 Call you his mouse [similarly used]. — Hamlet, iii. 4. 
 
 Move ['penetrate,' 'pierce,' 'wound'] the still-piercing air, that sings with piercing.- — 
 All's W., iii. 2. 
 
 And rather muse [' wonder,' ' be at a loss for the reason '] than ask why I entreat 
 you. — Ibid., ii. 5. 
 
 Do not muse ['wonder,' 'marvel '] at me. — Macb., iii. 4. 
 
 He will discredit our mystery [' trade ']. — M.for M., iv. 2. 
 
 Not to have us thrive in our mystery [' trade ']. — Timon, iv. 3. 
 
 I am glad I have found this napkin ['handkerchief']. — 0th., iii. 3. 
 
 Dip their napkins [' handkerchiefs '] in his sacred blood. — Jul. C, iii. 2. 
 
 Which native [' by nature,' ' naturally'] she doth owe. — Love's L. L., i. 2. 
 
 Could never be the native [' origin,' ' source,' ' cause of birth,' ' natural engenderer'j 
 of our so frank donation. — Coriol., iii. i. 
 
 That a monster should be such a natural [' idiot '] ! — Temp., iii. 2. 
 
 This drivelling love is like a great natural [' idiot ']. — R. &> Jul., ii. 4. 
 
 Nature [' natural strength,' ' native constitution '] and sickness debate it at their 
 leisure.— /I H's W., i. 2. 
 
 * It has been questioned whether " motion " bears the signification assigned by us 
 in this passage ; but we think the other instances here cited of similar use by Shake- 
 speare of " motion " in this sense, show it to be the correct one. 
 
572 THE SHAKESPEARE KEY. 
 
 That death and nature [' natural strength,' ' native constitution 'J do contend about 
 them. — Macb., ii. 2. 
 
 This naughty [' good for nothing,' ' worthless,' ' bad,' ' wicked '] man shall face to 
 face be brought to Margaret. — M. Ado, v. i. 
 
 But a naughty [' good for naught,' ' worthless,' ' bad '] orator. — All's W-, v. 3. 
 
 And this neglection [' neglect '] of degree it is. — Tr. &• Cr., i. 3. 
 
 li ncglection ['neglect,' 'negligence 'J should therein make me vile. — Per., iii. 3. 
 
 I speak the truth the next [' nearest,' ' directest'] way. — All's W., i. 3. 
 
 Home, home, the next [' nearest '] way. — W. T., iii. 3. 
 
 Is the next [' nearest,' ' readiest'] way to draw new. — 0th., i. 3. 
 
 The respects thereof are nice [' insignificant,' ' unimportant,' ' over-scrupulously 
 weighed '] and trivial. — R. III., iii. 7. 
 
 That every nice [' slight,' ' unimportant'] offence. — yul. C, iv. 3. 
 
 Nor the lady's, which is nice [' mincing,' ' affected,' ' modish']. — As You L., iv. i. 
 
 I am not so nice [' foolishly particular,' ' sillily fastidious 'j, to change true rules for 
 odd inventions. — Tarn, of S., iii. i. 
 
 Hence, therefore, thou nice [' over-luxurious,' ' effeminate '] crutch ! — 3 H. IV., i. i. 
 
 Nice [' punctilious,' ' precise,' ' prudish,' ' fastidious '] customs court'sy to great kings. 
 —H. v., V. 2. 
 
 Or nicely ['subtly,' ' sophistically '] charge your understanding soul with opening 
 titles miscreate. — Ibid., i. 2. 
 
 Stretch their duties nicely [' punctiliously,' ' precisely,' ' with scrupulous exactness ']. 
 — Lear, ii. 2. 
 
 Inflame too nicely [' scrupulously']. — Per., iv. i. 
 
 See if thou canst find out Sneak's noise [' street-band,' ' company of itinerant 
 musicians ']. — 2 H. IV., ii. 4. 
 
 And what noise ['musical sound'] is this ? — Macb., iv. i. 
 
 Fame doth noise [' report,' ' rumour '] abroad, Navarre hath. — Love's L. L., ii. 1. 
 
 The noise [' report,' ' rumour '] goes, this. — Tr. &• Cr., i. 2. 
 
 A trull, that noises [ ' loudly menaces,' ' turbulently threatens '] it against us. — 
 Ant. &• C, iii. 6. 
 
 Some base notorious [' that should be noted,' ' that ought to be exposed to notoriety'] 
 knave. — 0th., iv. 2. 
 
 'Tis a notorious [' that should be noted and exposed '] villain. — Ibid., v. 2. 
 
 Such fiery numbers [' verses,' ' rhythmical lines '] as the prompting eyes. — Love's 
 L. L., iv. 3. 
 
 The numbers [' verses,' ' versification '] altered ! — Tw. N., ii. 5. 
 
 Inland bred, and know some nurture [' education,' ' cultivation ']. — As You L., ii. 7. 
 
 The object [' spectacle '] of our misery is. — Coriol., i. i. 
 
 Your best object [' object of affection '], the argument of. — Lear, i. i. 
 
 One that feeds on objects [' objects of pursuit,' ' objects to be attained '], arts, and 
 imitations. — ^ul. C, iv. i. 
 
 My oblivion [' obliviousness,' ' defective memory '] is a very Antony. — Ant. &• C, i. 3. 
 
 And so obsequious ['lavish of obsequies '] will thy father be. — 3 H. VI., ii. 5. 
 
 To do obsequious [' deferential,' and ' lavish of obsequies '] sorrow. — Hamlet, i. 2. 
 
 Make her fault her husband's occasion [' occasioning,' ' occasioned by']. — As 
 You L., iv. 1. 
 
 Stronger than his just occasion ['that which might have occasioned resentment'], 
 made him give. — Ibid., iv. 3. 
 
 We do o'er-count [' outnumber '] thee. — At land, indeed, thou dost o'er-count 
 ['outnumber'; including the effect of 'overreach'] me of my father's house. — 
 Ant. &■ C, ii. 5. 
 
 May offer [' attack,' ' assail,' ' make hostile attempt '], but not hold. — 2 H. IV., iv. i. 
 
 Offer [' attack,' ' assail,' ' make hostile advance '] nothing here. — H. V ., ii. i. 
 
PECULIAR USE OF WORDS. 573 
 
 We of the offering [' assailing,' ' challenging,' ' commencing hostilities '] side must 
 keep aloof. — i H. IV., iv. i. 
 
 With all the office [' duty,' ' dedicated service '] of my heart. — 0th., iii. 4. 
 
 Now turn the office [' dedicated service,' ' duteous observance 'J of their view upon a 
 tawny front. — Ant. &• C, i. i. 
 
 I '11 rack thee with old [' excessive,' ' abundant'] cramps. — Temp., i. 2. 
 
 Here will be an old [' excessive,' ' abundant '] abusing. — Merry W., i. 4. 
 
 Here will be old [' excessive,' ' extreme '] utis. — 2 H. IV., ii. 4. 
 
 He should have old [' abundant '] turning of the key. — Macb., ii. 3. 
 
 Meet the old [' usual,' ' ordinary '] course of death.— Lear, iii. 7. 
 
 This is the old [' former '] man still. — Timon, iii. 6. 
 
 Passion stands for true old [' of primitive simplicity,' ' genuine,' and ' excessive '] 
 woe. — Per., iv. 4 (Gower). 
 
 If the old [used to imply familiarity, without implying age] fantastical duke of dark 
 corners. — M.for M., iv. 3. 
 
 One that old [similarly used] Frederick. — As You L., i. 2. 
 
 For all the old [partly with the effect of familiarity and petulant mention, partly mth 
 that of ' hackneyed in worldly ways,' partly as being older than the speaker] gentle- 
 man's saying. — Ibid., v. i. 
 
 How now, old [implying familiarity] lad? — Tarn. of S., iv. i. 
 
 Go thy ways, old [similarly used] lad ; for thou. — Ibid., v. 2. 
 
 Old* [in Shakespeare's time sometimes applied to men of what would now be con- 
 sidered middle age] John of Gaunt. — R. II., i. i. 
 
 To crush our old] [similarly applied] limbs in ungentle steel. — i H. IV., v. i. 
 
 My glass shall not persuade me I am old^ . . . — Sonnet 22. 
 But when my glass shows me myself indeed, 
 Beated and chopp'd with tann'd antiquity. — Ibid. 62. 
 
 I would not believe her lips in opening [' disclosing,' ' revealing'] it. — Cym., v. 5. 
 
 To steel a strong opinion [' reputation,' ' estimation '] to themselves ? — Tr. &• Cr., i. 3. 
 
 Then we did our main opinion [' reputation,' ' estimation '] crush. — Ibid., i. 3. 
 
 The smallest opinion ['ill opinion,' 'misconstruction'] on my least misuse. — 
 0th., iv. 2. 
 
 Rear the higher our opinion [' opinion of ourselves,' ' self-estimation '] that our 
 stirring can. — Ant. &> C, ii. i. 
 
 Be opposite ['antagonistic,' 'contradictious,' 'hostile'] with a kinsman. — Tw. iV.,ii. 5 
 (Letter). 
 
 And his opposite [' antagonist,' ' opponent,' ' adversary'], the youth. — Ibid., iii. 2. 
 
 The most skilful, bloody, and fatal opposite [' adversary '] that you could possibly 
 have found. — Ibid., iii. 4. 
 
 In single opposition [' contest,' ' combat ']. — i H. IV., i. 3. 
 
 More remarkable in single oppositions ['encounters,' 'combats']. — Cym., iv. i. 
 
 In our orbs [' orbits,' ' spheres '] we '11 live. — Per., i. 2. 
 
 Having our fair order [' arrangement,' ' compact '] written down.— jfohn, v. 2. 
 
 To order [' arrange,' ' settle, ' establish '] peace between them. — H. V., v. (Chorus). 
 
 Speak in the order [' pre-arranged ceremonial,' ' appointed course '] of his funeral. — 
 jful. C, iii. I. 
 
 Send fair-play orders^ [' arrangements,' ' proposed measures ']. — John, v. i. 
 
 * John of Gaunt was then fifty-eight years of age. 
 
 f Henry IV. was then about thirty-six years of age. 
 
 X Shakespeare, when his Sonnets were first published, was forty-five years of age. 
 
 § Some emendators have proposed to change " orders " to ' offers ' here; but the 
 other passages we have collectively cited, where " order " and " orders " are used in 
 the sense given, serve to show that probably " orders " was thus used by Shakespeare 
 in this passage also. 
 
574 THE SHAKESPEARE KEY. 
 
 Plots, orders f arrangements,' 'proposed measures '], preventions, excitements to the 
 field.— Tr. & Cr., i. 3. 
 
 Like some ore [' gold,' ' precious metal '] among a mineral of metals base. — 
 Hamlet, iv. i. 
 
 This orient [' eastern,' and ' bright '] pearl. — Ant. &• C, i. 5. 
 It is marvel he out-dwells [' outstays,' ' overpasses '] his hour. — Mer. of V., ii. 6. 
 Seal up the mouth of outrage [' raging out,' ' storming aloud,' ' uproar,' ' clamour,' 
 ' outcry'] for a while. — R. &> ful., v. 3. 
 
 Her pretty action did outsell [' exceed in value '] her gift. — Cym., ii. 4. 
 Of all compounded, outsells [' outvalues'] them all. — Ibid., iii. 5. 
 Outwent [' outdid,' ' excelled '] her, motion and breath left out. — Ibid., ii. 4. 
 Made the overture [' opening,' ' disclosure,' ' discovery '] of thy treasons to us. — : 
 Lear, iii. 7. 
 
 The great danger which this man's life did owe ['threaten to cause,' 'menace, 
 ' occasioning,' ' possess for'] you. — Coriol., v. 5. 
 
 Targets like the men that owe [' own,' ' possess '] them. — Ant. &• C, iv. 8. 
 
 The jeweller that owes [' owns'] the ring is sent for. — All's W., v. 3. 
 
 With those infirmities she owes [' owns,' * possesses '1. — Lear. i. i. 
 
 Hath it been ow'd [' owned,' 'possessed'] and worn. — All's W., v. 3. 
 
 Never may that state or fortune fall into my keeping, which is not ow'd [' held by 
 me as owing or due '] to you [—Timon, i. i. 
 
 Who I believe was pack'd [' joined as a conspirator,' ' combined as an accomplice '] 
 in all this wrong. — M. Ado, v. i. 
 
 Here's /acA/reg' [' conspiring,' 'joining in a plot or scheme'], with a witness, to 
 deceive us all .' — Tarn, of S., v. i. 
 
 In snuffs and packings [' factious conspiracies,' ' private confederacies '] of the dukes. 
 — Lear, iii. i. 
 
 But was paid [' punished,' ' paid out '] for my learning. — Merry W., iv. 5. 
 
 I am paid [' punished '] for 't now. — Ant. &• C, ii. 5. 
 
 Remember he was paid [' punished '] for that. — Cym., iv. 2. 
 
 Take^aiB [' trouble,' ' care'] to allay with some cold.— Mer. of V., ii. 2. 
 
 Hath ta'en much pain [' trouble '] in the king's business. — H. VIII., iii. 2. 
 
 Your knowledge, your personal ^ai» ['trouble ']. — Per., iii. 2. 
 
 When our deep plots do pall [' become spiritless,' ' lifeless,' ' without vigour and 
 vitality']. — Hamlet, v. 2. 
 
 Where do the paltncrs [' pilgrims'] lodge. — All's W., iii. 5. 
 
 Is holy palmers' [' pilgrims' '] kiss. — R. &• yitl., i. 5. 
 
 Oh, sir, pardon [' excuse '] me ! — Ant. &• C, iv. 12. 
 
 What shall be next, pardon [' excuse '] old Gower.^Pc;-., ii. (Gower). 
 
 A. parish ['parish full,' 'great number,' 'large amount'] of such Clotens. — Cym., iv. 2. 
 
 Since presently your souls must part [' part from,' ' depart from '] your bodies. — 
 R. II., iii. I. 
 
 To pari [' share,' ' divide into just parts '] the glories of this happy day. — ful. C, v. 5 . 
 
 Your exultation partake [' mutually share,' ' participate,' ' impart '] to every one. — 
 W. T., V. 3. 
 
 And our mind partakes [' imparts,' ' gives participation of] her private actions to 
 your secrecy. — Per., i. i. 
 
 For his particular [' individual self], I '11 receive him. — Lear, ii. 4. 
 
 The wittiest partition [in the double sense of ' partition wall ' and ' sect,' ' pro- 
 pounder of doctrine '] that ever I heard discourse. — Mid. N. D., v. i. 
 
 The party [' person,' 'individual'] is gone, fellow Hector. — Love's L. L., v. 2. 
 
 Your party [' certain person,' ' individual '] in converse. — Hamlet, ii. i. 
 
 And being at that pass [' point,' ' extremity '] you would. — Com. ofE., iii. i. 
 
 And pass ['assure,' ' convey'] my daughter a sufficient dower. — Tarn. ofS.,iv. 4. 
 
PECULIAR USE OF WORDS. 575 
 
 We '11 pass [' transact,' ' accomplish '] the business. — Tarn, of S., iv. 4. 
 
 Nay, an thou pass ['pass your jokes,' 'play jesting tricks'] upon me, I'll no more 
 with thee. — Tw. N., iii. i. 
 
 As for these silken-coated slaves, I pass [' care,' ' heed,' ' regard '] not. — 2 H. VI., iv. 2. 
 
 Were I alone to pass ['pass through,' 'encounter,' 'experience'] the difficulties. — 
 Tr. &■ Cr., ii. 2. 
 
 That I may pass ['pass by,' 'omit'] this doing. — Coriol., ii. 3. 
 
 We may not pass [' pass sentence '] upon his life. — Lear, iii. 7. 
 
 Thus might he /ass [' pass away,' ' expire,' ' die '] indeed. — Ibid., iv. 6. 
 
 Oh, let him pass [' pass away,' ' die '] I he hates him that. — Ibid., v. 3. 
 
 As my farthest band shall pass [' be staked '] on thy approof. — Ant. &• C, iii. 2. 
 
 The stunag passage ['throng of passers-by '] of the day. — Com. of E., iii. i. 
 
 No watch ? no passage [' passers-by '] ? murder ! — 0th., v. i. 
 
 That "had," how sad a. passage ['indication of what passes'] 'tis! — All's W., i. i. 
 
 In thy passages [' evil courses '] of life, make me. — r H. IV., iii. 2. 
 
 So cried and shrieked at it, that it passed [' surpassed belief']. — Merry W., i. i. 
 
 This /ass«s [' surpasses belief,' 'exceeds credence']. — Ibid., iv. 2. 
 
 Hath look'd upon my passes [' evil courses,' ' passages of misconduct '] . — M.for M.,v.i. 
 
 'Tis a passing [' exceeding,' ' surpassing '] shame. — Two G. of V., i. 2. 
 
 Is she not passing [' exceedingly,' ' surpassingly '] fair ? — Ibid., iv. 4. 
 
 Relish all as sharply , /ass!0« [' feel emotionally and intensely '] as they. — Temp., v. i. 
 
 This/asj!0» [' emotional grief,' ' passionate sorrow '], and the death of a dear friend. — 
 Mid. N. D., V. I. 
 
 I feel my master's /assJOM ['emotion,' 'passionate indignation']. — Timon, iii. i. 
 
 Oh, well-painted /assJoB [' distressful emotion '] ! — 0th., iv. i. 
 
 This borrow'd passion [' distress,' ' grief] stands for true. — Per., iv. 4 (Gower). 
 
 Make passionate ['full of emotional sadness'] my sense of hearing. — Love'sL.L., iii. i. 
 
 She is sad and passionate [' overwhelmed by emotional distress '] at your highness" 
 tent. — John, ii. 2. 
 
 'Twas Ariadne, /nssiowing' [' lamenting passionately,' 'mourning distressfully'] for 
 Theseus' perjury. — Two G. of V., iv. 4. 
 
 Dumbly she passions [' mourns,' ' grieves ']. — V. &• Adon., Stanza 177. 
 
 Till that his passions [' angry emotions'], like a. — 2 H. IV., iv. 4. 
 
 Had the passions [' angry emotions,' ' throes of passion '] of thy heart burst out. — 
 I H. VI., iv. I. 
 
 Do breed love's settled passions [' emotions,' ' passionate feelings '] in my heart. — 
 Ibid.,v. 5. 
 
 But his /assJOKS [' emotions,' ' throes of passion '] move me so. — 3 H. VI., i. 4. 
 
 'Tis past [' passed away,' ' transpired,' 'expired,' ' gone'], and so am I. — Lear, v. 3. 
 
 For if thou /(liA [' walk forth,' ' walk abroad '], thy native semblance on. — JuLC, ii. i. 
 
 They stay upon your patience [' sufferance,' ' permission '] . — Hamlet, iii. 2. 
 
 By your gracious patience [' permission '] I will. — 0th., i. 3. 
 
 Rascal, peak ['act sneakingly, pitifully, hesitatingly'], like John-a-dreams. — 
 Hamlet, ii. 2. 
 
 The peaking [' sneaking,' ' pitiful '] cornuto. — Merry W., iii. 5. 
 
 A domineering /ledflKi [' schoolmaster '] o'er the boy. — Love's L. L., iii. i. 
 
 Mercatante, or a. pedant [' schoolmaster,' ' preceptor,' ' tutor ']. — Tarn, of S., iv. 2. 
 
 This it is to be a peevish [' perverse,' ' wilful,' ' wayward '] girl. — Two G. of V., v. 2. 
 
 'Tis but a peevish [' wayward,' ' perverse,' and ' silly,' ' insignificant '] boy. — 
 As You L., iii. 5. 
 
 That same peevish ['wayward,' 'wilful,' 'perverse'] messenger. — Tw. N., i. 5. 
 
 When Richmond was a little peevish [' silly,' ' foolish,' ' insignificant '] boy. — 
 R. III., iv. 2. 
 
5/6 THE SHAKESPEARE KEY. 
 
 A peevish [' foolishly wilful '] schoolboy.— yw/. C, v. i. 
 I II perfect ['fully acquaint or inform'] him withal. — M./or M., iv. 3. 
 Thou art perfect [' certain,' ' fully informed,'] then. — W. T., iii. 3. 
 I am perfect [' sure,' ' certain,' ' well informed '] that the Pannonians and Dalmatians. 
 — Cym., iii. i. 
 
 Being once perfected [' fully informed or instructed '] how to grant suits. — Temp., i. 2. 
 
 Her sweet perfection* [' perfectioning ' ; in allusion to the then prevailing and beau- 
 tiful doctrine that marriage was the perfectioning of a human being]. — Tw. N., i. i. 
 
 To die, even when they to perfection [used not only in reference to the perfected 
 beauty of the full-blown rose, but also in allusion to the perfected loveliness and excel- 
 lence of a woman matched with her chosen manly counterpart in married union] grow I 
 — Ibid., ii. 4. 
 
 And she a fair divided excellence, whose fulness of perfection [used with similar 
 allusion] lies in him. — John, ii. 2. 
 
 And now newly performed ['finished,' ' completed,' ' achieved '] by that rare Italian 
 master. — W. T., v. 2. 
 
 Contempt his scornful perspective [a glass presenting a distortedly reflected image] 
 did lend me, which warp'd the line of. — All's W., v. 3. 
 
 A natural perspective [a glass presenting a different object from the one held before 
 it to be reflected therein], that is and is not ! — Tw. N., v. i. 
 
 Like perspectives [glasses made to present distortedly or undistortedly reflected 
 images according to the position in which these glasses were held], which rightly gaz'd 
 upon, show nothing but confusion. — R. II., ii. 2. 
 
 Awake the pert [' brisk,' ' alert,' ' lively '] and nimble spirit of Tnirth.— Mid. N.D.,i.i. 
 
 Appear, and pertly ['briskly,' 'alertly']. — Temp., iv. i. 
 
 Yond' walls, that pertly [' saucily,' ' defiantly '] front your town. — Tr. &■ Cr., iv. 5. 
 
 Peruse [' observe,' 'examine,' ' scan '] the traders. — Com. of E., i. 2. 
 
 Peruse [' examine,' ' scan '] them well. — All's W., ii. 3. 
 
 I have perused [' examined,' ' scanned '] her well — H. VIII., ii. 3. 
 
 I have with exact view penes' d [' examined'] thee. — Tr. &■ Cr., iv. 5. 
 
 And pervert [' divert,' ' turn from its course'] the present wrath he hath against him- 
 self. — Cym., ii. 4. 
 
 I '11 pour this pestilence [' poison '] into his ear. — 0th., ii. 3. 
 
 The blood I drop is TsAher physical [' wholesome,' ' salutary ']. — Coriol., i. 5. 
 
 Is it physical ['wholesome,' ' salutary '] to walk unbraced. — Jul. C, ii. i. 
 
 I '11 pick [' pitch,' ' hurl,' ' toss '] you o'er the pales. — H. VIII., v. 3. 
 
 High as I could pick [' pitch,' ' cast,' ' throw,' ' hurl '] my lance. — Coriol., i. i. 
 
 He is too picked [' finical,' 'foppish,' ' over-particular and precise'], too spruce, too 
 affected. — Love's L. L., v. i. 
 
 My picked ['foppish,' 'coxcombical,' 'finical'] man of countries. — John, i. i. 
 
 The age is grown so picked ['over-precise,' ' excessively particular'], that the toe of 
 the peasant comes. — Hamlet, v. i. 
 
 Such picking [' petty,' ' insignificant '] grievances. — 2 H. IV., iv. i. 
 
 By smiling pick-thanks [' pickers of occasion to be thanked or rewarded,' ' pickers of 
 opportunity to curry favour '] and base newsmongers. — i H. IV., iii. 2. 
 
 My eyes on thy picture [' image'], and my heart. — Love's L. L., iv. i (Letter). 
 
 Going to see the qaeen's picture [' painted statue ']. — W. T., v. 2. 
 
 With mine own picture [' portrait'] on the top of it. — 2 H. IV., iv. 3. 
 
 His picture [' portrait,' ' description '] I will send far and near. — Lear, ii. i. 
 
 Hath alter'd that goodpicture [' image '] ? — Cym., iv. 2. 
 
 * The Folio adds an " s " to " perfection " in this passage ; but the other passages 
 we cite, where Shakespeare uses the word " perfection," appear to us to prove that he 
 also used it in the present passage and in the sense we assign. [S«« ' S ' added or 
 
 OMITTED IN THE FiRST FOLIO]. 
 
PECULIAR USE OF WORDS. 577 
 
 Plain words best pierce [' penetrate '] the ear. — Love's L. L., v. 2. 
 
 The bruised heart was pierced [' penetrated,' ' reached,' ' arrived at '] through the 
 ear. — 0th., i. 3. 
 
 Tents, thus proudly pight [' pitched,' ' fixed,' ' placed '] upon our Phrygian plains.— 
 Tr. &• Cr., V. 11. 
 
 Found him pight [' pitched,' ' fixed,' ' settled,' ' resolved '] to do it. — Lear, ii. i. 
 
 StT:a.ight-pight [' pitched,' ' fixed,' ' poised,' ' placed'] Minerva. — Cym., v. 5. 
 
 Two and thirty, a pip [a spot or mark on a card, determining its suit and value] 
 out. — Tarn, of S., i. 2. 
 
 The heart and place [' resting-spot,' ' dwelling-place,' ' residence '] of general 
 wonder.— Per., iv. {Gower). 
 
 Love lack'd a dwelling, and made him her place ['resting-place,' ' residence ']. — 
 Lover's Comp., Stanza 12. 
 
 I '11 plain [' make plain or clear,' ' elucidate '] with speech. — Per^ Hi. (Gower). 
 
 The king hath cause to plain ['complain']. — Lear, Hi. 1. 
 
 Plaining ['complaining'] comes too late. — R. II., i. 3. 
 
 Piteous plainings [' complainings,' ' wailings '] of the pretty babes. — Com. of E., i. i. 
 
 Some 0' iheir plants [' soles of the feet '] are ill-rooted already. — Ant. &• C, ii. 7. 
 
 As plates [' silver coin or pieces of money '] dropp'd from his pocket. — Ibid., v. 2. 
 
 The 'Romans plausibly [' applausively,' ' applaudingly,' ' with acclamation '] did give 
 consent. — Lucrece, Stanza 2^5. 
 
 His plausive [' worthy of applause, praise, or admiration '] words. — All's W., i. 2. 
 
 It must be a very plausive ['plausible '] invention. — Ibid., iv. i. 
 
 The form o{ plausive [' worthy of applause,' ' meritorious,' ' attractive '] manners. — 
 Hamlet, i. 4. 
 
 I am glad your grace is grown so pleasant ['facetious,' ' indulging in pleasantry']. — 
 H. VIII., i. 4. 
 
 Come, you are pleasant [' indulging in pleasantry']. — Ibid., ii. 3. 
 
 I will please [' give as a gratuity,' ' recompense,' ' pay.' See " Gratify" under the 
 present heading] you what you will demand. — Cmn. of E., iv. 4. 
 
 Guarded, to know your pleasure [' decision,' ' determination ']. — Hamlet, iv. 3. 
 
 Bring his constant pleasure [' decision,' ' determination 'J. — Lear, v. i. 
 
 But this single plot [literally ' a piece of ground ' ; here, figuratively applied to the 
 human body, 'piece of earth.' See " Earth" under the present heading] to lose, this 
 mould of Marcius. — CorioL, iii. 2. 
 
 Fight for a plot [' small piece of ground '] whereon the numbers cannot try the 
 cause. — Hamlet, iv. 4. 
 
 An argument that he is pluck'd [' stripped,' ' deprived of all '], when hither he sends 
 so poor a pinion of his wing. — Ant. &• C., iii. 10. 
 
 Growing to a. plurisy ['superabundance,' ' superfluenee,' 'plethora'], dies in his 
 own too-much. — Hamlet, iv. 7. 
 
 Makes his approaches to the port [' gate'] of Rome. — Ant. &• C, i. 3. 
 
 All ports [' gates'] I'll bar. — Lear, ii. i. 
 
 The apprehension of his present portance [' bearing,' ' carriage ']. — Coriol., ii. 3. 
 
 And portance [' conduct,' ' bearing'] in my travels. — 0th., i. 3. 
 
 More than can thy portage [' safe conveyance into life'] quit. — Per., iii. i. 
 
 And this the regal seat : possess [' take possession of,' ' occupy '] it, York. — 3 H. VI., i. i. 
 
 Things rank and gross in nat-are possess [' hold possession of,' ' occupy '] it merely. — 
 Hamlet, i. 2. 
 
 Be a child o' the time. — Possess* [' take possession of,' ' occupy '] it, I 'II make answer. — 
 Ant. &• C, ii. 7. 
 
 * Some commentators have supposed " possess " not to be the right word in the 
 present passage ; but the mode in which Shakespeare has used it in the two other 
 previously cited passages we think serves to show that " possess " is the word he 
 employed in the present passage also. 
 
 2 p 
 
578 THE SHAKESPEARE KEY. 
 
 Possess [' inform,' ' tell '] the people in Messina. — M. Ado, v. i. 
 
 Possess [' inform '] us, possess us. — Tw. N., ii. 3. 
 
 I have possess'd [' informed '] him my most. — M. for M., iv. i. 
 
 He is, sure, possess'd [' taken possession of by an evil spirit,' ' insane'], madam. — 
 Tui. N., iii. 4. 
 
 How long hath this possession [' insanity '] held the man ? — Com. of E., v. i. 
 
 Thou art to post ['Tiasten '] after ■with oars. — T-^'O G. of V., ii. 3. 
 
 Is posted ['hastened'], as the agent of our cardinal, to second all his plot. — 
 H. VIII., iii. 2. 
 
 His guilt should be but idly posted over [' put aside,' ' put by,' ' let pass unpunished 'J 
 because his purpose. — -2 H. VI.. iii. i. 
 
 Nor posted off [' put off,' ' postponed,' ' deferred '] their suits with slow delays.— 
 3 H. VI., iv. 8. 
 
 hiiA posts [' hastens'] like the commandment of a king. — Tr. &• Cr., i. 3. 
 
 The posts ['messengerswho travel post-haste and bring news, letters, or dispatches'] 
 come tiring on. — 2 H. IV. (Indue.) 
 
 I have foundered nine-score and odd posts ['post-horses']. — Ibid., iv. 3. 
 
 The posture of ['mode of placing or giving'] your blows are yet unknown — 
 yul. C, V. I. 
 
 Of the duke and her is practice [' artifice,' ' designing scheme '] only. — Lear, ii. 4. 
 
 This \s practice ['machination,' 'artful device], Gloster. — Ibid., v. 3. 
 
 Fall'n in the practice [' snare,' ' machination '] of a cursed slave. — 0th., v. 2. 
 
 Sworn unto the practices [' treacherous schemes,' ' plots,' ' devices '] of France. — 
 H. v., ii. 2. 
 
 My practices [' devices,' ' stratagems '] ride easy ! — Lear, i. 2. 
 
 Will so practise [' plot,' ' act contrivingly and schemingly '] on Benedick, that. — 
 M. Ado, ii. I. 
 
 He will practise [' plot,' ' scheme,' ' treacherously contrive '] against thee by poison. 
 — As You L., i. I. 
 
 Have practis'd [' conspired,' ' plotted'] dangerously against your state. — 
 2 H. VI., ii. I. 
 
 How intend you, practis'd [' acted on behalf of or ' treacherously plotted '] ?^ 
 
 Ant. &■ C, ii. 2. 
 
 Return the precedent ['original copy,' 'rough draught'] to these lords again.^ 
 
 yolin, V. 2. 
 
 The precedent ['original draught'] was full as long a-doing. — R. III., iii. 6, 
 
 His sweating palm, the precedent ['indication,' 'prognostic,' 'augury'] of pith and 
 livelihood. — V. &• Adon., Stanza 5. 
 
 Those precepts [' warrants '] cannot be served. — 2 H. IV., v. i. 
 
 As send precepts [' warrants '] to the Leviathan. — H. V., iii. 3. 
 
 If Messala will prefer [' recommend,' ' present for acceptance '] me to you — 
 Jul. C, V. 5. 
 
 Should not sooner than thine own worth prefer [' recommend '] thee. — Cym., iv. 2. 
 
 I shall then have to prefer ['promote,' 'advance'] them. — 0th., ii. i. 
 
 Ere I arise, I wiW prefer [' advance,' ' promote'] my sons. — Cym., v. 5. 
 
 Our play is preferred ['proffered,' 'proposed,' 'presented for acceptance']. — 
 Mid. N. D., iv. 2. 
 
 He is preferr'd [' recommended '] by thee to us. — Cym., iv. 2. 
 
 Pregnancy [' intellectual capacity,' ' fertility of thought '] is made a tapster, and hath 
 his quick wit. — 2 H. IV., i. 2. 
 
 You're 3.5 pregnant [' skilled,' 'proficient,' 'fully instructed'] in as art. — M.forM., i. i. 
 
 'Tis very pregnant [' full of self-evident fact '] the jewel. — Ibid., ii. i. 
 
 To your own most pregnant ['ready,' 'prompt to listen and apprehend'] and 
 vouchsafed ear. — Tw. N., iii. i. 
 
PECULIAR USE OF WORDS. 579 
 
 If ever truth viett pregnant [' full of self-evident fact'] by circumstance.— W. 7"., v. 2. 
 
 The Grecians are most prompt and pregnant ['ready,' 'aptly disposed']. — 
 Tr. &• Cr., iv. 4. 
 
 How pregnant ['full of apt meaning'] sometimes his replies are! — Hamlet, ii. 2. 
 
 Crook the pregnant [' quick,' ' ready,' ' prompt '] hinges of the knee. — Ibid., iii. i. 
 
 As it is a most pregnant [' full of plausibility '] and unforced position. — 0th., ii. i. 
 
 'Twere pregnant [' full of probability '] they should square between themselves. — 
 Ant. &• C, ii. I. 
 
 Hath the pregnant ['apt,' ' prompt'] instrument of wrath. — Per., iv. (Gower). 
 
 Preposterous [' out of due order,' ' misplacing and misplaced '] ass, that never read so 
 far. — Tarn ofS., iii. i. 
 
 In so preposterous ['out of the usual course': though the Clown probably intends it 
 for 'prosperous'] estate as we are. — W. T., v. 2. 
 
 That befall preposterously [' contrary to due course,' ' perversely ']. — Mid. N. D., iii. 2. 
 
 The presence [' presence-chamber '] strew'd. — R. II., i. 3. 
 
 Cardinals wait in the presence [' presence-chamber ']. — H. VIII., iii. i. 
 
 A feasting ^rejc»« [' presence-chamber'] full of light. — R. &• Jul., v. 3. 
 
 Work the peace of the present [' present time ']. — Temp., i. i. 
 
 Even at this present [' present time']. — W. T., i. 2. 
 
 To sit here at this present [' present time']. — H. VIII., v. 2. 
 
 No farther than this present [' present time '] l—CorioL, iii. 3. 
 
 Beyond this ignor3.Tit present" [' present time']. — Macb., i. 5. 
 
 I '11 make division of my present [' present store,' ' sura of money that I have at 
 present '] with you. — Tw. N., iii. 4. 
 
 This is from thtpresent [' present consideration or point of discussion ' j. — Ant. &•€., ii. 6. 
 
 But his present [' that which he presents '] is a wither'd branch. — Per., ii. 2. 
 
 'Wha.t present ['presented letter'] hast thou there? — Love's L. L., iv. 3. 
 
 By these presents [' presented bills']. — As You L., i. 2. 
 
 When I presented [' represented,' ' enacted '] Ceres. — Temp., iv. i. 
 
 Great Hercules is presented [' represented '] by this imp. — Love's L. L., v. 2. 
 
 Presently ['at present,' ' immediately'] ? Ay, with a twink. — Temp., iv. i. 
 
 I will seek him, sir, presently ['immediately '].—I.ea;-, i. 2. 
 
 Would shake the press [' crowd,' ' throng ']. — H. VIII., iv. i. 
 
 Break among the press [' crowd '], and find. — Ibid., v. 3. 
 
 Who is it in the press [' crowd '] that caih.— Jul. C, i. 2. 
 
 I have misused the king's press [' impress,' ' commission to forcibly enlist '] damnably. 
 —I H. IV., iv. 2. 
 
 I press [' impress,' ' enlist '] me none but. — Ibid., iv. 2. 
 
 The gibbets, and pressed ['impressed,' ' enlisted'] the dead bodies. — Ibid., iv. 2. 
 
 And I imprest [' ready,' ' prompt, ' disposed '] unto it. — Mer. of V., i. i. 
 
 Prest [' ready '] for this blow. — Per., iv. (Gower). 
 
 Publisher of this pretence [' intention,' ' purpose,' ' design ']. — Two G. of V., iii. i. 
 
 The pretence [' intention,' ' purpose,' ' design '] whereof being by circumstances. — 
 W. T., iii. 2 (Indictment). 
 
 Against the uniiwii^ A pretence [' intention'] I fight. — Macb., ii. 3. 
 
 And to no other pretence [' design '] of danger. — Lear, i. 2. 
 
 To keep your great-pretences [' intentions,' ' designs '] veil'd. — Coriol., i. 2. 
 
 Their disguising, and pretended ['intended'] Aight.^Twp G. of V., ii. 6. 
 
 Such black payment as thou hast pretended [' intended ']. — Lucrece, Stanza 83. 
 
 * In this passage Pope proposed to add the word 'time' after "present" ; but the 
 four passages we have precedingly cited show that Shakespeare several times uses 
 " present" for 'present time.' 
 
 2 P 2 
 
58o THE SHAKESPEARE KEY. 
 
 It is a pretty [' apt,' ' appropriate,' ' felicitous '] mocking of the life. — Timon, i. i. 
 But had most pretty [' apt,' ' appropriate '] things to say. — Cym., i. 4. 
 Tread a course pretty ['felicitous,' 'fair,' 'prosperous,' 'propitious'], and full of. 
 view.— /Aid., iii. 4. 
 
 A pretty ['apt,' 'felicitous'] moral. — Per., ii. i. 
 
 Both the degrets prevent ['anticipate'] my curses. — 2 H. IV., i. 2. 
 
 So to prevent [' anticipate'] the time of life. — jful. C, v. i. 
 
 But we are prevented [' anticipated ']. — Tw. N., iii. i. 
 
 That happiness and prime ['the spring of youth'] can happy call. — All's W., ii. i. 
 
 Were they as prime [' forward,' ' eager,' ' wantonly disposed '] as goats. — 0th., iii. 3. 
 
 Prospero the prime [' first,' ' principal,' ' chief] duke, being so reputed in dignity. — 
 Temp., i. 2. 
 
 My prime [' first,' ' principal,' ' chief] request which I do last pronounce. — Ibid., i. 2. 
 
 For there is no primer [' more first in importance,' ' more early urgent,' ' chiefer '] 
 business. — H. VIII., i. 2. 
 
 A violet in the youth olprimy [' early,' ' spring-like'] nature. — Hamlet, i. 3. 
 
 The very principals ['strongest rafters of a building'] did seem to rend. — Per., iii. 2. 
 
 It is -war's prize [' privilege '] to take all vantages — 3 H. VI., i. 4. 
 
 'Tis prize [' privilege '] enough to be his son. — Ibid., ii. i. 
 
 Then had my prize ['value '] been less. — Cym., iii. 6. 
 
 What profane [' gross-spoken,' ' coarse-languaged,' ' impure,' ' unhallowed '] wretch 
 art thou?— Ott.,i. i. 
 
 Is he not a most profane [' infamous,' ' unhallowed '] and liberal counsellor ? — 
 Ibid., ii. I. 
 
 The mourning brow oi progeny [' offspring '] forbid. — Love's L. L.,v. 2. 
 
 And this same progeny [' offspring,' ' race '] of evils. — Hid. N. D., ii. 2. 
 
 Doubting thy birth and lawful progeny [' race,' ' descent '\. — i H. VI., iii. 3. 
 
 Issu'd from t'he progeny ['race,' 'descent'] of kings. — Ibid., v. 4. 
 
 The whip of your hragg'd progeny [' progenitors']. — Coriol., i. 8. 
 
 I cannot project [' put forth,' ' set forth,' ' make out a statement of] mine own 
 cause so well. — Ant. &• C, v. 2. 
 
 There is a prone [' deferential,' ' submissive,' ' supplicatory '] and speechless dialect. 
 — M.for M., i. 3. 
 
 I am not prone ['given,' ' addicted,' ' readily disposed'] to weeping. — W. T., ii. i. 
 
 As prone [' inclined,' ' disposed,' ' readily given '] to mischief. — H. VIII., i. i. 
 
 I never saw one so prone ['prompt,' 'ready,' 'willing,' 'alertly disposed']. — Cym., v. 4. 
 
 To propagate [' promote the advantage of] their states. — Timon, i. i. 
 
 Only {or propagation [' promoting the bestowal or payment of] a dower remaining 
 in the coffer of.— M.for M., i. 3. 
 
 Imagination, proper [' pertaining,' 'appropriate '] to madmen. — 2 H. IV., i. 3. 
 
 Do justice on ray proper ['own '] son. — Ibid., v. 2. 
 
 Though our proper [' own '] son stood in your action. — 0th., i. 3. 
 
 For he is a proper ['comely,' 'finely proportioned,' 'well-made'] man. — Two G. 
 of v., iv. I. 
 
 This Lodovico is a proper [' comely,' ' good-looking '] man. — 0th., iv. 3. 
 
 Though I owe my revenge properly [' personally,' ' as regards myself], my remission 
 lies. — Coriol., v. 2. 
 
 They have here propertied ['made a property of,' 'taken possession of] me. 
 
 Tw. N., iv. 2. 
 
 I am too high-born to be propertied ['made a property of,' 'controlled,' 'held in 
 subjection ']. — John, v. 2. 
 
 Subdues and properties ['makes his property,' ' appropriates,' ' subjects '] to his love. 
 — Timon, i. i. 
 
PECULIAR USE OF WORDS. 581 
 
 The property [' intrinsic quality,' ' that which is inherent in,' ' properly belonging 
 to '] by what it is should go, not by the title. — All's W., ii. 3. 
 
 Custom hath made it in him a property [' quality,' ' habit,' ' adopted calling or 
 avocation'] of easiness. — Hamlet, v. i. 
 
 That great property [' propriety,' ' beseeming quality '] which still should go with 
 Antony. — Ant. &• C, i. i. 
 
 But thou, 'gainst all ^j'o/>o)-Wo» [' relative fitness,' 'proportionate likelihood'], didst 
 bring in wonder to wait on. — H. V., ii. 2. 
 
 Ani propose [' imagine to yourself] a son. — z H. IV., v. 2. 
 
 The toged consuls can propose [' discourse,' ' hold forth '] as learnedly as he. — 
 0th., i. I. 
 
 To listen our propose ['conversation': French, ^ro^oi], — M. Ado, iii. i. 
 
 Beatrice proposing [' conversing,' ' discoursing '] with the prince. — Ibid., iii. i. 
 
 That sleep and feeding may prorogue [' linger on,' ' weary out,' ' gradually lull and 
 subdue 'J his honour. — Ant. &• C, ii. i. 
 
 But to prorogue [' linger out the period of,' ' protract the wearisome duration of] his 
 grief. — Per., v. i. 
 
 And nothing may prorogue [' defer '] it. — R. &• Jul., iv. i. 
 
 Than death prorogued [' deferred,' postponed,' ' delayed ']. — Ihid., ii. 2. 
 
 Lend your prosperous [' propitious,' ' favourable '] ear. — 0th., i. 3. 
 
 Provokes [' urges,' ' impels '] the mightiest hulk. — i H. VI., v. 5. 
 
 Our gentle flame provokes [' evokes,' ' calls forth,' ' elicits '] itself, and, like the 
 current, flies each bound it chafes. — Timon, i. i. 
 
 Sleep, and that thou oft provok'st ['invokest,' 'callest forth,' ' encouragest '] . — 
 M.for M., iii. i. 
 
 Thou shalt have a share in out purchase ['booty,' ' stolen goods']. — i H. IV., ii. i. 
 
 The purchase [' advantage,' ' gain,' profit '] is to make men glorious. — Per. i. (Gower) . 
 
 I sought the purchase [' achievement,' ' acquisition '] of a glorious beauty. — Ibid., i. 2. 
 
 For what in me was purchas'd [' purloined,' ' obtained by indirect means '], falls upon 
 thee in a. — 2 H. IV., iv. 4. 
 
 Hereditary, rather than purchas'd [' acquired,' ' voluntarily procured '] . — Ant. (&■ C, i. 4. 
 
 The purple [' encrimsoned '] testament of bleeding war. — R. II., iii. 3. 
 
 With purple [' encrimsoned '] faulchion, painted. — 3 H. VI., i. 4. 
 
 With purple [' dark red,' ' crimson 'J fountains issuing from your veins.— i?. 6- Jul., i. i. 
 
 All with purpled ['encrimsoned'] hands dy'd in. — John, ii. 2. 
 
 Whilst yow purpled ['encrimsoned'] hands do reek. — Jul. C, iii. i. 
 
 To be his purveyor [' precursor'] : but he rides well. — Macb., i. 6. 
 
 Lest they desire, upon this push ['emergency,' 'special occasion'], to trouble your 
 joys.—W. T., V. 3. 
 
 This push ['emergency,' 'exigence,'] will cheer me ever. — Macb., v. 3. 
 
 We '11 put the matter to the present push [' test,' ' trial '] . — Hamlet, v. i. 
 
 And made a push [' pish,' 'pshaw '] at chance and su.Terance — ^1/. Ado, v. i. 
 
 Picsh [' pish '] ! did you see my cap ? — Timon, iii. 6. 
 
 My quaint [' ingenious,' ' dexterous,' and ' gracefully fantastic '] Ariel, hark in thine 
 ear. — Temp., i. 2. 
 
 For a fine, quaint ['tasteful,' 'well-fancied'], graceful, and excellent fashion. — 
 M. Ado, iii. 4. 
 
 And wonders at our quaint [' delicately graceful,' ' prettily fantastic '] spirits. — 
 Mid. N. D., ii. 3. 
 
 Tell quaint [' ingenious,' ' cleverly fantastic '] lies, how honourable ladies sought 
 my love. — Mer. of V ., iii. 4. 
 
 The lines are very quaintly [' ingeniously,' ' cleverly,' ' dexterously '] writ. — Two 
 G. of v., ii. I. 
 
58a THE SHAKESPEARE KEY. 
 
 A ladder, quaintly ['cleverly,' 'deftly,' 'dexterously'] made of cords. — Two 
 G.ofV., iii. I. 
 
 Unless it may be quaintly [' tastefully,' ' gracefully,' 'with elegant appropriateness,' 
 ' ingeniously '] ordered. — Mer. of V., ii. 4. 
 
 Breathe his faults so quaintly ['dexterously,' 'adroitly'], that they may seem. — 
 Hamlet, ii. i. 
 
 With your fine fancies quaintly [' ingeniously,' ' skilfully '] eche. — Per., iii. [Gower). 
 
 Whose qualification [' allayed anger,' ' appeasement '] shall come into no true taste 
 again but by. — 0th., ii. i. 
 
 Rests by you only to be qualified [' allayed,' ' appeased ']. — ^ohn, v. i. 
 
 Till some little time hath qualified ['allayed,' 'appeased'] the heat of his dis- 
 pleasure. — Lear, i. 2. 
 
 Craftily qualified [' allayed,' ' weakened ' with water] too. — 0th., ii. 3. 
 
 Strive to qualify [' pacify'], and bring him. — W. T., iv. 3. 
 
 Because you are not of our quality [' sort,' ' kind,' ' way of thinking,' ' mode of 
 opinion ']. — i H. IV., iv. 3. 
 
 Even to the very quality [' individual nature,' ' moral and mental identity '] of my 
 lord. — 0th., i. 3. 
 
 Task Ariel, and all his quality [' qualification,' ' gift ']. — Temp., i. 2. 
 
 What quality [' calling,' ' avocation,' ' profession '] are they of? — M.for M., ii. i. 
 
 Will they pursue the quality [' profession of actor '] no longer than they can sing ? 
 — Hamlet, ii. 2. 
 
 Give us a taste of your quality [' theatrical powers,' ' professional ability']. — Ibid., ii. 2. 
 
 Yet, if that quarrel [' square-headed arrow'], fortune, do divorce it from the bearer. 
 —H. VIII., ii. 3. 
 
 I 'd make a quarry [' heap of slaughtered game ' and ' the portion of it given 
 to the hounds,' ' offal,' ' carrion '] with thousands of these quarter'd slaves. — Coriol., i. i. 
 
 On his damned quarry [' heap of slaughtered creatures,' ' heap of carrion '] 
 smiling. — Macb., i. 2. 
 
 On the quarry [' slaughtered heap '] of these murder'd deer. — Ibid., iv. 3. 
 
 This quarry [' heap of dead creatures '] cries on havoc. — Hamlet, v. 2. 
 
 Not a man shall pass his quarter [' military station,' ' post '], or offend. — Timon, v. 5. 
 
 In quarter [' military station,' ' post '], and in terms. — 0th., ii. 3. 
 
 Quail, crush, conclude and quell [' destroy,' ' kill '] ! — Mid. N. D., v. i. 
 
 The guilt of our great qiiell [' murder,' ' assassination '] ? — Macb., i. 7. 
 
 She will not quench [' abate her warmth,' ' grow cool '] — and let instructions enter 
 where. — Cym., i. 6. 
 
 Or cease your quest [' seeking,' ' pursuit,' ' suit '] of love ? — Lear, i. i. 
 
 Expense can stead the quest [' search ']. — Per., iii. (Gower). 
 
 These false and most contrarious quests [' spyings,' ' inquisitions '] upon thy doings ! 
 — M.for M., iv. I. 
 
 Three several quests [' seekers '] to search you out. — 0th., i. 2. 
 
 When the bravest questant [' seeker,' ' aspirant '] shrinks. — All's W., ii. i. 
 
 Hot questrists [' seekers '] after him. — Lear, iii. 7. 
 
 Hermia, question [' inquire into,' ' examine '] your desires — Mid. N. D., i. i. 
 
 And question [' inquire into,' ' examine into '] this most bloody piece of work — 
 Macb., ii. 3. 
 
 With more facile question [' dispute,' ' contest '] bear it. — 0th., i. 3. 
 
 The question ['statement of the reasons,' 'debated argument'] of his death is 
 enrolled in- the Capitol. — ^ul. C, iii. 2. 
 
 Might be my question ['subject of discourse,' 'theme of animadversion']. — 
 Ant. &• C, ii. 2. 
 
 And had much question .f conversation,' 'discourse,' 'debate'] with him. — As 
 You L., iii. 4. 
 
PECULIAR USE OF WORDS. 583 
 
 Thou com'st in such a questionable [' conversable,' ' inviting question '] shape, that 
 I will speak to thee. — Hamlet, i. 4. 
 
 How quick [' lively,' ' vital '] and fresh art thou ! — Tw. N., i. i. 
 
 The mercy that was quid [' alive,' ' living '] in us but late.. — H. V., ii. 2. 
 
 The quick [' lively,' ' quick-witted '] comedians. — Ant. &-C., v. 2. 
 
 Quicken [' revive,' ' live again '] with kissing. — Ibid., iv.. 13. 
 
 Is fated to us when we do quicken [' begin to live ']. — 0th., iii. 3. 
 
 Some quillets ['sophistical quibbles'] how to cheat the devil. — Love'sL. L., iv. 3. 
 
 His quillets [' legal sophistries'], his cases. — Hamlet, v. i. 
 
 Like doth quit [' requite '] like. — M.for M., v.. i. 
 
 I quit [' acquit '] them all. — Ibid., v. i. 
 
 To quit [' procure requital or redress '] me of them throughly. — M. Ado, iv. i. 
 
 To quit [' acquit,' ' remit '] the fine for one half. — Mer of V., iv. i. 
 
 Till thou canst quit [' acquit '] thee by thy brother's mouth. — As You L., iii. i. 
 
 Here I quit [' acquit '] him. — AlVs W., v. 3. 
 
 To quit [' requite,' ' render an equivalent for '] their grief. — R. II., v. i. 
 
 I would I could quit [' acquit myself of,' ' disculpate myself from '] all offences with 
 as clear excuse. — i H. IV., iii. 2. 
 
 And I sail quit [' retaliate,' ' make reprisals,' ' reply.' ' answer you with arguments in 
 return '] you with gud leve, as I may pick occasion. — H. V., iii. 2. 
 
 So we were quit [' free from,' ' away from'J here. — Ibid., iv. i. 
 
 God safely quit ['free,' ' rid,' ' deliver '] her of her burden. — H. VIII., v. i. 
 
 To quit [' give retaliation or reprisal '] him with this arm. — Hamlet, v. 2. 
 
 Draw : seem to defend yourself: now quit [' acquit '] you well. — Lear, ii. i. 
 
 To quit [' requite,' .' redress '] this horrid'act. — Ibid., iii. 7. 
 
 And say, " God qtiit [' requite,' ' reward '] you ! " — Atit. &■ C, iii. 11. 
 
 As he shall like, to quit [' requite,' ' retaliate upon '] me. — Ibid., iii. 11. 
 
 More than can thy portage quit [' requite,' ' compensate for ']. — Per., iii. i. 
 
 There was a little quiver [' nimble,' ' active,' ' quick'] fellow. — 2 H. IV., iii. 2. 
 And how quote ['note,' ' remark,' ' observe '] you my folly .' — 
 I quote it in your jerkin. — Two G. of V., ii. 4. 
 
 He's quoted ['noted,' 'observed,' 'remarked'] for a most perfidious slave. — All's 
 W., V. 3. 
 
 Mark'd, quoted ['noted,' ' observed'], and sign'd. — fohn, iv. 2. 
 
 And quoted [' noted,' ' observed,' ' examined '] joint by joint. — T^r. &• Cr., iv. 5. 
 
 A race [' root,' or ' spray-formed piece ' : Spanish, raiz or rayz, ' root '] or two of 
 ginger. — W. T., iv. 2. 
 
 Leave not a rack [' light scudding cloud of the upper region '] behind. — Temp., iv. i. 
 
 The rack [' train of thin vaporous cloud in upper air '] stand still. — Hamlet, ii. 2. 
 
 The rack ['vaporous scud of upper air'] dislimns. — Ant. &• C, iv. 12. 
 
 And rack [' torture into semblance of evil,' ' stretch into enormity '] thee in their 
 fancies i — M.for M., iv. i. 
 
 Then we rack ['exaggerate,' 'overstrain,' 'stretch to the utmost'] the value. — 
 M. Ado, iv. I. 
 
 That shall be rack'd [' stretched,' ' strained,'] even to the uttermost. — Mer. of V., i. i. 
 
 That have rack'd [' strained every nerve,' ' stretched authority to the utmost '] for 
 Rome. — Coriol., v. i. 
 
 Not separated with the racking; [' train of scudding vapoury '] clouds. — 3 H. VI., ii. i. 
 
 The wide arch of the ranged [' well-ordered,' ' well-arranged '] empire fall I — 
 Ant. &• C, i. I. 
 
 Which yet distinctly ranges [' stands in goodly order'], in heaps and piles of ruin. — 
 Coriol , iii. i. 
 
THE SHAKESPEARE KEY. 
 
 If I keep not my rank [' rate of talking,' ' way of following up one joke with another 'j . 
 — As You L., i. 2. 
 
 The right butter-woman's yank ['rate of going in single file on horseback'] to 
 market. — Ibid., iii. 2. 
 
 Though it be as rank [ 'foul-scented'] as a fox. — Tw. N., ii. 5. 
 
 Deser\-es a name as rank [ ' gross,' 'coarse '] as any flax-wench.— W. T., i. 2. 
 
 How rank [ ' high-grownly,' ' exuberantly,' ' excessively ' ] soever rounded in with 
 danger. — Tr. &• Cr., i. 3. 
 
 In rank [' high-grown,' ' rampant '] Achilles must. — Ibid., i. 3. 
 
 Is rank'd [' occupied by ranks of men '] with all deserts. — Timon, i. i. 
 
 I will physic your rankness ['high-grown insolence']. — As Yon L., i. i. 
 
 Leaving our rankness [ ' excess,' ' over-fulness,' ' exuberance '] and irregular course. — 
 John, V. 4. 
 
 What, dear sir, thus raps you [' transports you,' ' carries you away,' ' seizes your 
 imagination '] ? Are you well ? — Cym., i. 7. 
 
 That he seems rapt ['transported,' 'in a state of mental abstraction'] withal.— - 
 Macb., i. 3. 
 
 Look how our partner's rapt ['involved in abstraction,' ' carried away into a fit of 
 thought ']. — Ibid., i. 3. 
 
 Into a rapture [' fit,' ' ecstasy or transport of weeping '] lets her baby cry. — 
 CorioL, ii. i. 
 
 Spite of all the rapture [' seizure,' ' violent snatching away '] of the sea. — Per., ii. 1. 
 
 And a most rare ['choice,' ' admirable'] speaker. — H. VIII.. i. 2. 
 
 How rarely [' choicely,' ' admirably'] does it meet with this time's guise. — Timon, iv.3. 
 
 Did dream the boar did rase [' tear or strike off as by tusks '] his helm. — R. III., iii. 4. 
 
 The boar had rased [' torn or struck as by tusks '] off.—Ibid., iii. 2. 
 
 Sorrow were ever ras'd [' erased,' ' effaced ']. — Per., i. i. 
 
 That with no rash [' hasty,' ' speedy'] potion. — W. T., i. 2. 
 
 Jesters and rash [' speedily Tjurnt out or exhausted '] bavin wits. — i H. IV., iii. 2. 
 
 One of them rates [' equals in value '] all. — Ant. &• C, iii. 9. 
 
 God make incision in thee! Thou art raw [used in the double sense of sore ' and 
 ' ignorant,' ' inexperienced,' ' immature,' ' green ']. — As You L., iii. 2. 
 
 And yet but raw ['ignorant,' 'inexpert,' 'inefficient,' 'inadequate'] neither, in 
 respect of his quick sail. — Hamlet, v. 2. 
 
 In our more rawer [' inexperienced,' ' inexpert,' ' ineiUcient'] breath ? — Ibid., v. 2. 
 
 Upon their children rawly [' rashly ' and ' unprovidedly,' ' in immature age 'J left. — 
 H. v., iv. I. 
 
 Why in that rawness [' rashness,' ' want of mature consideration ' and ' unprovided- 
 ness] left you wife and child. — Macb., iv. 3. 
 
 Roses on my razed [' cut,' ' slashed ' ; French, rasel shoes. — Hamlet, iii. 2. 
 
 And two razes [' pieces,' ' packets.' See " Race " under the present heading : pro- 
 bably the terms, originally derived from the same source, came to be applied to ginger 
 in the piece, or in the packet] of ginger. — i H. IV., ii. i. 
 
 Therein should we read ['peruse exhaustively,' ' possess ourselves entirely of] the 
 very bottom and the soul of hope. — Ibid., iv. i. 
 
 And recks not his own read [' monition,' ' precept,' ' lesson ']. — Hamlet, i. 3. 
 
 Is she ready [' dressed.' See " Unready " under the present heading] ? — Cym., ii. 3 
 
 Hear him but reason [' discourse '] in divinity. — H. V., i. i. 
 
 No, we '11 reason [' talk,' ' parley'] with him. — R. III., i. 4. 
 
 But reason [' talk,' ' parley '] with the fellow. — CorioL, iv. 6. 
 
 And reason [' discretion,' ' propriety of language '] to my love is liable. — ynl. C, ii. 2. 
 
 I reason'd [' conversed,' ' discoursed '] with a Frenchman. — Mer. of V., ii. 8. 
 
 'Why is this reason'd ['discussed'] ? — Lear, v. i. 
 
 What are you reasoning [' talking,' ' discussing'] with yourself? — Tziio O.of V., ii. i. 
 
PECULIAR USE OF WORDS. 585 
 
 But doth rebate [' beat back,' ' repress,' ' subdue,' ' dull,' ' render obtuse '] and blunt 
 his natural edge. — M.for M., i. 5. 
 
 His present reconciliation ['atonement,' ' submission,' ' act of conciliation '] take. — 
 0th., iii. 3. 
 
 Ere I could recover [' attain,' ' reach to '] the shore. — Temp., iii. 2. 
 
 If I cannot recover [' attain,' ' obtain '] your niece. — Tw. N., ii. 3. 
 
 Gives his potent regiment [' rule,' ' power,' ' command,' ' authority,' ' government 'J 
 to a trull. — Ant. &• C, iii. 6. 
 
 I '11 have grounds more relative [' pertinent,' ' nearly concerning,' ' closely con- 
 nected '] than this. — Hamlet, ii. 2. 
 
 But we shall relish ['have some remaining taint'] of it. — Ibid., iii. i. 
 
 That never relish'd [' had any taint '] of a base descent. — Per., ii. 5. 
 
 Although this lord of weak remembrance [' memory ']. — Temp., ii. i. 
 
 With this remembrance [' reminder,' 'admonition ']. — 2 H. IV., v. 2. 
 
 Make rash remonstrance [' re-showing,' ' re-demonstration '] of my hidden power. — 
 M.for M., V. I. 
 
 Touch'd with that remorse [' pity,' ' compassion ']. — Ibid., ii. 2. 
 
 Show thy mercy and remorse [' pity,' ' compassion'], more strange. — Mer. ofV., iv. i. 
 
 Wise, remorseful [' compassionate,' ' tender-hearted 'J. — Two G. of V., iv. 3. 
 
 All thy safety were remotion [' removing to a distance ']. — Timon, iv. 3. 
 
 This remotion [' removal,' ' moving away '] of the duke. — Lear, ii. 4. 
 
 Lov'd the life remov'd [' secluded,' ' retired ']. — M.for M., i. 4. 
 
 So removed [' sequestered,' ' retired,' ' remote from other habitations '] a dwelling. — 
 As You L., iii. 2. 
 
 And he did render [' describe,' ' declare '] him the most unnatural. — Ibid., iv. 3. 
 
 Make their sorrow'd render [' declaration,' ' avowal ']. — Timon, v. 2. 
 
 Repair [' revive,' ' renovate '] me with thy presence. — Two G. of V., v. 4. 
 
 It much repairs [' revives,' ' renovates '] me to talk of. — All's W., i. 2. 
 
 A cause for thy repeal [' recall from exile '], we. — Coriol., iv. i. 
 
 Repeal [' recall '] thee home again. — Two G. of V., v. 4. 
 
 That she repeals [' causes to be recalled 'J him for. — 0th., ii. 3. 
 
 The first view shall kill all repetition [' recrimination ']. — All's W., v. 3. 
 
 To these ill-tuned repetitions ['recriminations']. — yohn, ii. i. 
 
 The most replenished [' consummate,' ' plenarily qualified '] villain. — W. T., ii. i. 
 
 The most replenished [' consummate '] sweet work. — R. III., iv. 3. 
 
 In the reproof [' disproof,' ' confutation,' ' refutation '] of this. — i H. IV., i. 2. 
 
 In reproof [' disproof,' ' refutation '] of many tales. — Ibid., iii. 2. 
 
 'Tis so, I cannot reprove [' disprove,' ' refute,' ' disallow '] it. — M. Ado, ii. 3. 
 
 Reprove [' disprove,' ' refute '] my allegation, if you can. — 2 H. VI., iii. i. 
 
 How will the world repute [' consider,' ' deem,' ' account '] me. — Two G. of V., ii. 7. 
 
 All in England did repute ['consider'] him dead. — i H. IV., v. i. 
 
 Do repute [' consider '] his grace the rightful heir. — 2 H. VI., v. i. 
 
 Yet, by reputing ['spreading the reputation,' 'boasting'] of his high descent.— 
 Ibid., iii. i. 
 
 Reserve [' preserve,' ' keep carefiilly,' ' guard from injury '] that excellent com- 
 plexion. — Per., iv. I. 
 
 Reserve [' preserve '] them for my love. — Sonnet 32. 
 
 Reserve [' preserve '] their character with golden quill. — Ibid., 85. 
 
 To be in a due resolution [' conviction,' ' assurance ']. — Lear, i. 2. 
 
 To resolve me [' satisfy my mind,' ' decide my case'] now. — 3 H. VI., iii. 2. 
 
 Resolve [' satisfy,' ' inform '] your angry father. — Per., ii. 5. 
 
 We would be resolv'd [' satisfied,' ' assured '], before we hear. — H. V., i. 2. 
 
 To be resolv'd [' assured'] if Brutus so unkindly. — ^ul. C, iii. 2. 
 
586 THE SHAKESPEARE KEY. 
 
 As a form of wax resolveth [' dissolveth '] from. — yohn, v. 4. 
 
 You in my respect [' regard,' ' consideration '] are all the world. — Mid. N. D., if. 2. 
 Humour than advis'd respect ['consideration,' 'motive']. — John, iv. 2. 
 A-nd this respect [' consideration,' ' motive '] beside. — Ibid., v. 4. 
 You are very respectively [' regardfully,' ' with much consideration '] welcome. — 
 Timon, iii. i. 
 
 For my respects [' motives,' ' originating causes of action '] are better than they 
 seem. — All's W., ii. 5. 
 
 The respects [' motives, 'grounds of action,' ' considerations that prompt procedure'] 
 thereof are nice. — R. III., iii. 7. 
 
 When it is mingled with respects [' scrupulous considerations,' ' over-prudential 
 regardfulnesses']. — Lear, i. i. 
 
 From the restful ['peaceful,' ' quiet'] English court. — R. II., iv, i. 
 
 When resty [' inert,' ' sluggish,' ' idle,' ' too full of rest '] sloth finds the down pillow 
 hard. — -Cyni,, iii. 6. 
 
 Rise, resty [' inert,' ' too long resting '] muse. — Sonnet 100. 
 
 Nor ?-c4Hm« no care ['takes no recapitulatory care,' ' takes no summing-up care'] 
 of what is to continue. — Timon, ii. 2. 
 
 To whom I will retail [' recount,' ' relate '] my conquest won. — R. III., iv. 4. 
 
 As 'twere reiaiVd [' related,' ' retold,' ' recounted '] to all posterity.— /6irf., iii. i. 
 
 The king is merciful, if you revolt ['turn back,' 'return': Italian, revoltare\. — 
 2 H. VI., iv. 2. 
 
 The red plague rid [' destroy '] you, for. — Temp., i. 2. 
 
 And will rid [' destroy '] his foe. — R. II., v. 4. 
 
 You have rid [' destroyed '] this sweet young prince ! — 3 H. VI., v. 5. 
 
 Willingness rids [' gets rid of,' ' consumes'] way. — Ibid., v. 3. 
 
 It is the right [' true,' ' exact,' 'precise'] butter-women's rank. — As You L., iii. 2. 
 
 I answer you right [' exactly like '] painted cloth. — Ibid., iii. 2. 
 
 Denied him rivality [' equal rank in consociation ']. — Ant. &• C, iii. 5. 
 
 The rivals [' sharers,' ' partners,' ' associates '] of my watch. — Hamlet, i. i. 
 
 I must be round [' frank,' ' bluntly candid '] with you. — Tw. N., ii. 3. 
 
 I must be round [' plain,' ' frank,' ' outspoken '] with him. — Timon, ii. 2. 
 
 I went round [' bluntly,' ' straightforwardly'] to work. — Hamlet, ii. 2. 
 
 Our little life is rounded * [' encompassed ' and ' completed '] with a sleep. — Temp., iv. i . 
 
 How rank soever rounded [' encompassed '] in with danger. — Tr. &• Cr., i. 3. 
 
 Rounded [' whispered sinisterly '] in the ear with that. — John, ii. 2. 
 
 He answered me in the roundest [' bluntest,' ' bluffest 'J manner, he would not. — 
 Lear, i. 4. 
 
 Whispering, rounding [' murmuring sinisterly'], Sicilia is. — W. T., i. 2. 
 
 Come roundly [' directly,' ' straightforwardly'] to thee. — Tarn. 0/ S., i. 2. 
 
 Take it on you at the first so roundly [' bluntly,' ' roughly ']. — Ibid., iii. 2. 
 
 The king's rouse [' deep draught '] the heavens shall bruit. — Hamlet, i. 2. 
 
 There o'ertook in 's rouse [' carouse ']. — Ibid., ii. i. 
 
 They have given me a rouse [' deep draught '] already. — 0th., ii. 3, 
 
 The rout [' company,' 'crowd'] is coming. — Tam.of S., iii. 2. 
 
 Sleep yslaked hath the rout ['company,' 'assemblage']. — Per., iii. [Gower). 
 
 How this foul rout [' tumult,' ' brawl'] began. — 0th., ii. 3. 
 
 Were our royal [' loyal,' ' allegiant '] faiths martyrs. — 2 H. IV., iv. i. 
 
 • It has been debated in what sense Shakespeare uses the word " rounded " in the 
 present passage. We believe it to be used (according to his inclusive mode of 
 employing words) in the duplicate sense of ' encompassed ' and ' completed ' ; human 
 life being' ' encompassed,' while it lasts, with a " sleep " of dreams and images, and 
 being ' completed ' at its close by a " sleep " of eternal peace and rest. 
 
PECULIAR USE OF WORDS. 587 
 
 Shown at full their royal [' loyal,' ' allegiant '] minds.— H. VIII., iv. 1. 
 
 Royal [' sumptuous,' ' magnificent '] cheer, I warrant you. — Timon, iii. 6. 
 
 Which promises royal [' supreme,' ' a high degree of] peril. — Ant. &• C, iv. 8. 
 
 And in his royalty [' exaltedness,' ' elevated quality '] of nature. — Macb., iii. i. 
 
 You think we are ruffians ['rufflers,' ' bullies,' 'swaggerers,' ' roisterers']. — 0th., i. i. 
 
 The bleak winds do sorely ruffle [' roughly blow']. — Lear, ii. 4. 
 
 Favours you should not ruffle [' roughly treat,' ' tear,' or ' rend '] thus. — Ibid., iii. 7. 
 
 Deck thy body with his ruffling [' flaunting,' ' showy '] treasure. — Tarn, of S., iv. 3. 
 
 What night-j-wZe [' revel '] now about this ? — Mid. N. D., iii. 2. 
 
 Means for this uncivil rule [' revel ']. — Tw. N., ii. 3. 
 
 I heard a bustling rumour ['noise,' 'uproar,' 'tumultuous sound': Itahan, rumore], 
 like a fray. — yul. C, ii. 4. 
 
 Hath rush'd [' pushed,' ' thrust '] aside the law. — R. &• jfuL, iii. 3. 
 
 Spurthem to ruthful [' rueful,' ' woeful,' ' that which produces ruth or pity '] work — 
 —Tr. &■ Cr., V. 3. 
 
 In sad [' serious,' ' sedate '] confidence. — M. Ado, i. 3. 
 
 He is sad [' serious,' ' grave '] and civil. — Tw. N., iii. 4. 
 
 My father and the gentlemen are in sad [' serious '] talk. — W. T., iv. 3. 
 
 The conference was sadly [' seriously '] borne. — M. Ado, ii. 3. 
 
 Accords not with the sadness [' seriousness '] of my suit. — 3 H. VI., iii. 2. 
 
 By doing everything safe [' productive of security '] toward your love and honour. — 
 Macb., i. 4. 
 
 But Banquo's safe [' secure from doing harm,' ' securely despatched '] ? — Ay, my 
 good lord: safe [' securely stowed away'] in a ditch he bides. — Ibid., iii. 4. 
 
 Are his wits safe [' steady,' ' stable,' ' in sound condition '] ? — -Oth., iv. i. 
 
 In all safe [' sound,' ' sure '] reason he must have. — Cym., iv. 2. 
 
 That which most with you should safe ['render safe '] my going. — Ant. &• C, i. 3. 
 
 Best you sa/'d [' safely conveyed,' 'rendered safe the going of] the bringer out of 
 the host. — Ibid., iv. 5. 
 
 And on a safer ['staider,' 'sounder'] judgment. — CorioL, ii. 3. 
 
 The safer [' sounder,' ' steadier,' ' staider '] sense will ne'er. — Lear, iv. 6. 
 
 My blood begins my safer [' staider,' ' steadier '] guides. — Oth., ii. 3. 
 
 Deliver him to safety [' safe custody']. — -John, iv. 2. 
 
 Or pick a sallet [' salad,' ' mixture of herbs '] . but for a sallet [' helmet ' ' head- 
 
 piece '] my brain-pan had. — 2 H. VI., iv. 10. 
 
 There were no sallets [' pungent sentences,' ' piquant phrases,' ' phrases seasoned 
 with salt or ribald meanings '] in the lines. — Hamlet, ii. 2. 
 
 Whose salt [' salacious,' ' lustful,' ' gross '] imagination yet hath wrong'd — 
 M. for M., V. I. 
 
 Salt ['wanton,' 'impure,' 'licentious'] Cleopatra. — Ant. &• C, ii. i. 
 
 For certain drops of salt [' tears']. — CorioL, v. 5. 
 
 Would make a man a man of sa/i [' tears '] . — Lear, iv. 6. 
 
 All things had been savage ['wild,' ' uncultivated'] here. — As You L., ii. 7. 
 
 If savage ['wild'] take or lend. — Cym., iii. 6. 
 
 Coughing drowns the parson's saw ['axiom,' 'promulgated doctrine'].— Lore - 
 L. L., V. 2 (Song). 
 
 Approve the common saw [' axiom,' ' proverb,* ' adage ']. — Lear, ii. 2. 
 
 Full of wise saws [' axioms,' ' proverbial sayings '] and. — As You L., ii. 7. 
 
 The rascally, scald [' sorry,' ' scurvy '] beggarly . . . scald knave. — H. V., v. i. 
 
 And scald ['sorry,' ' scurvy '] rhymers ballad us.— Ant. &• C, v. 2. 
 
 The corrupt deputy scaled [' deprived of his false surface ']. — M. for M., iii. i. 
 
 Like scaled [' covered with scales ' and ' dispersed,' ' scattered '] sculls [' shoals '] 
 before the belching whale. — Tr. & Cr., v. 5. 
 
588 THE SHAKESPEARE KEY. 
 
 Scaling [' weighing,' ' balancing ' as in scales] his present bearing with his past. — 
 Coriol., ii. 3. 
 
 Sure, some scape [' prank, ' irregularity,' ' wild freak, ' dissolute act ']...! can 
 read waiting-gentlewoman in the scape. — W. T., iii. 3. 
 
 Day, quoth she, night's scapes [' wanton deeds,' ' dissolute acts '] doth open lay. — 
 Lucrcce, Stanza 107. 
 
 Scarf [■ bandage,' ' veil '] up the tender eye of. — Macb., iii. 2. 
 
 The scarfed [' adorned with streamers and pennons '] bark. — ^tcr of V., iii. 6. 
 
 My sea-gown scarf d ['wrapped,' 'folded'] about me. — Hamlet, v. 2. 
 
 So every scope [' extent of licence '] by the immoderate use. — M. for M., i. 3. 
 
 No scope * [' free course of operation,' ' ordained or appointed agency '] of Nature, no 
 distemper'd day, no common wind. — jfohn, iii. 4. 
 
 Be angry when you will, it shall have scope ['free course,' 'extended limit']. — 
 yul. C, iv. 3. 
 
 An anchor's cheer in prison be my scope [' appointed limit of fare '].— Hamlet, iii. 2. 
 
 I will not seal [' confirm,' ' ratify '] your knowledge. — Coriol., ii. 3. 
 
 Now must your conscience my acquittance seal ['confirm,' 'ratify']. — Hamlet, ii. 7. 
 
 The power to seal [' effectually close '] th' accuser's lips. — Lear, iv. 6. 
 
 Our peace we 11 ratify ; seal [' confirm '] it with feasts. — Cym., v. 5. 
 
 The best brine a maiden can season [' preserve sweet, fresh, and lasting '] her praise 
 in.— All's W., i. i. 
 
 All this to season [' preserve sweet, fresh, and lasting '] a brother's dead love. — 
 Tw. N., i. I. 
 
 Season [' temper,' ' modify,'] your admiration for awhile with an attent ear. — 
 Hamlet, i. 2. 
 
 My blessing season [' temper wisely,' ' make pleasant and profitable '] this in thee ! — 
 Ibid., i. 3. 
 
 As you may season [' temper,' ' modify,' ' qualify '] it in the charge. — Ibid., ii. i. 
 
 ■When mercy seasons [' tempers,' ' qualifies '] justice. — Mer. of V., iv. i. 
 
 Directly seasons [' tempers,' ' moulds,' and ' confirms, ' establishes 'J him his enemy. 
 — Hamlet, iii. 2. 
 
 Which seasons [' gives zest or relish to,' ' renders more pleasant and acceptable '] 
 comfort. — Cym., i. 7. 
 
 Being season d [' made more pleasant '] with a gracious voice. — Her. of V., iii. 2. 
 
 So scason'd [' rendered acceptable'] with your faithful love to me. — R. III., iii. 7. 
 
 All season'd [' long-established,' ' time-matured '] office. — Coriol., iii. 3. 
 
 This castle hath a pleasant seat [' site,' ' situation ']. — Macb., i. 6. 
 
 Mock your workings in a second [' deputed,' ' representative ] body .^2 H. IV.,v. 2 . 
 
 Divulge Page himself for a secure [' over-trusting '] and wilful Actaeon. — 
 Merry ]V., iii. 2. 
 
 Open the door, secure [' rashly confident '], fool-hardy king. — R. II., v. 3. 
 
 Secure [' reassure '] thy heart. — Timon, ii. 2. 
 
 Upon my secure [' supposed safe,' ' fancied secure '] hour. — Hamlet, i. 5. 
 
 Heaven secure [' keep safe,' ' guard,' ' protect '] him I — Ibid., i. 5. 
 
 Our means secure [' render over-confident or rashly trusting '] us, and our mere 
 defects prove. — Lear, iv. i. 
 
 I do not so secure [' feel over-confident '] me in the error, but the main article. — Otii., i. 3 . 
 
 But securely [' over-confidently'] done. — Tr. &• Cr., iv. 5. 
 
 Through our security [' over-confidence,' ' blind reliance '], grows strong. — R. II., iii. 2. 
 
 * " Scope " in this passage has been suspected of error by some commentators ; but 
 we think that the other passages here collectively cited where Shakespeare uses 
 " scope," suffice to show that he probably employed it in this case also with similar 
 meaning. 
 
PECULIAR USE OF WORDS. S^S 
 
 Too much security [' over-trust,' ' rash reliance 'j. — H. V., ii. 2. 
 
 Security [' over-confidence '] is mortals' chiefest enemy. — Macb., iii. 5. 
 
 Toys of feather' d Cupid seel ['blind,' 'close up,' 'incapacitate'] with wanton 
 dulness my. — 0th., i. 3. 
 
 Come, seeling [' blinding '] night. — Macb., iii. 2. 
 
 These, indeed, seem [' wear an appearance of being,' ' give a semblance of 
 existence '], for they are actions that. — Hamlet, i. 2. 
 
 Still seem [' wear the same appearance or looks '] as does the king. — Cym., 1. i. 
 
 Nothing she does, or seems [' appears to be,' ' looks '] but smacks of something 
 greater than herself. — W. T., iv. 3. 
 
 Seeming, seeming [' hypocrisy,' 'simulated virtue,' ' appearance of goodness ], I will 
 proclaim thee. — M.for M., ii. 4. 
 
 Out on thee ! Seeming [' simulated virtue,' ' appearance of innocence '] ! I will write 
 against it. — M. Ado, iv. i. 
 
 This hath some seeming [' appearance of likelihood']. — Cym., v. 5. 
 
 Out oi self-bounty ['inherent generosity'], he abus'd. — Oih., iii. 3. 
 
 Tomboys, hir'd with that self -exhibition ['self-same stipend'] which your own 
 coffers yield ! — Cym., i. 7. 
 
 To knit their souls ... in self-figured knot [' a knot tied or formed by themselves']. 
 — Ibid., ii. 3. 
 
 I '11 tell thee what befell me on a day 
 
 In this self -place [' self-same spot '] where now we mean to stand. — 3 H. VI., iii. i. 
 
 Do not curst wives hold that self-sovereignty [' sovereignty vested in self] only for 
 praise sake, when they strive to be lords o'er their lords ? — Love's L. L., iv. i. 
 
 His semblable ['resemblance,' 'likeness,' 'brother-man,' 'fellow-creature'], yea, 
 himself, Timon disdains. — Timon, iv. 3. 
 
 His semblable [' resemblance,' ' likeness '] is his mirror. — Hamlet, v. 2. 
 
 The semblable [' similar,' ' resembling '] coherence of his men's spirits and his. — 
 2 H. IV., V. I. 
 
 Thousands more oi semblable ['similar,' ' hke'] import. — Ant. &• C, iii. 4. 
 
 Semblably [' similarly,' ' in semblance '] furnish'd like the king himself — 
 I H. IV., V. 3. 
 
 And all is semblative [' resembling,' ' seemingly,' ' apparently '] a woman's part. — 
 Tw. N., i. 4. 
 
 Spirit of sense [' sense of touch '] hard as the. — Tr. & Cr., i. i. 
 
 That most pure spirit of sense [' sense of sight']. — Ibid., iii. 3. 
 
 Pierce his ready sense [' sense of hearing'].- -Coriol., ii. 2. 
 
 Sense [' perception,' ' appreciation,' ' power of discrimination '] sure, you have 
 that sense is apoplex'd . . nor seyise to ecstasy was ne'er so thralled. — Hamlet, iii. 4. 
 
 Their wives have sense [' sensuous perception '] like them. — 0th., iv 3. 
 
 I would your cambric were sensible [' sensitive,' ' capable of feeling '] as your finger. 
 — Coriol., i. 3 . 
 
 Without the sensible [' faculty of the senses '] and true avouch of mine own eyes. — 
 Hamlet, i. i. 
 
 An answerable sequestration [' mutual retirement from each other's company, 
 ' reciprocal separation ']. — 0th., i. 3. 
 
 Sir Valentine and servant [' suitor '] to you. — Two G. of V., ii. i. 
 
 Servant [' suitor '], — Mistress }—Ibid., ii. 4. 
 
 Till necessity be serv'd [' ministered to,' ' attended to']. — As You L., ii. 7. 
 
 What touches us ourself shall be last serv'd * [' attended to ']. — Jul. C, iii. i. 
 
 • This passage has been altered by those who affirm that the verb "to serve " is 
 used in relation to persons, not to things ; but the passage we here cite from " As You 
 Like It " shows that Shakespeare employs " serv'd " in both passages with similar effect. 
 
590 THE SHAKESPEARE KEY. 
 
 Like heralds 'twixt two dreadful battles set * [' appointed '],• — John, iv. 2. 
 
 Old Adam's likeness, set [' appointed '] to dress this garden. — R. II., iii. 4. 
 
 I have set [' staked '] my life upon a cast. — R. III., v. 4. 
 .To set [' stake '] upon one battle all our liberties. — ytil. C, v. i. 
 
 I would set ['stake '] my life on any chance. — Macb., iii. I. 
 
 Set [' stake '] less than thou throwest. — Lear, i. 4. 
 
 Thou may'st not coldly set [' rate,' ' estimate,' ' reckon,' ' value '] our sovereign 
 process. — Hamlet, iv. 3. 
 
 I'll set ['send admonishingly and controUingly'] those to you that can speak. — 
 Ibid., iii. 4. 
 
 On the score for sheer [' pure,' ' unmixed,' and ' purely,' ' merely,' ' solely '] ale. — 
 Tarn, of S., Indue. 2. 
 
 Thou sh-eer ['pure,' 'clear,' 'transparent,' 'unmixed'], immaculate, and silver 
 fountain. — R. II., v. 3. 
 
 I must coney-catch, I must shift [' act fraudulently']. — Merry W., i. 3. 
 
 But shift [' act furtively,' ' remove clandestinely '] away. — Macb., ii. 3. 
 
 To shift [' change,' ' remove '] his being. — Cym., i. 6. 
 
 Be bitter with him and passing short [' curt,' 'sharp,' ' snappish '] .—^i You L., iii. 5. 
 
 Till some certain shot [' reckoning,' ' amount '] be paid. — Two G. of V., ii. 5. 
 
 A, little, lean, old, chapped, bald, shot [' shooter']. — 2 H. IV., iii. 2. 
 
 Ah, foul shrewd [' untoward,' ' disastrous '] news ! — yohn, v. 5. 
 
 Do my lord of Canterbury a shrewd ['evil,' 'mischievous,' 'malicious'] turn, 
 and he is your friend. — H. VIII., v. 2. 
 
 'We shall find of him a shrewd [' mischievous,' and ' slily clever,' ' artful,' ' cunning'] 
 contriver. — Jttl. C, ii. i. 
 
 This last day was a shrewd [' mischievous,' ' harmful,' ' disastrous '] one to us. — 
 Ant. &• C, iv. g. 
 
 I will give him a present shrift ['hearing confession and giving absolution']. — 
 M.for M., iv. 3. 
 
 Now hath done his shrift [' hearing confession and giving absolution ']. — 3 H. VI., iii. 2. 
 
 His board a shrift [' confessional ']. — 0th., iii. 3. 
 
 I will here shroud [' take shelter '], till the dregs. — Temp., ii. 2. 
 
 Put yourself under his shroud [' shelter,' 'protection ']. — Ant. &• C, iii. 11. 
 
 Hardly shall I carry out my side [' game,' ' cause,' ' object of attainment '], her 
 husband being alive. — Lear, v. i. 
 
 To be the siege [' seat ' • French, siege'] of this moon-calf? — Temp., ii. 2. 
 
 Upon the very siege [' official seat'] of justice. — M.for M., iv. 2. 
 
 From men of royal siege [' seat,' ' throne ']. — 0th., i. 2. 
 
 'We'll sift ['examine'] this matter farther. — All's W., v. 3. 
 
 'Well, we shall sift [' examine,' ' test,' ' try '] him. — Hamlet, ii. 2. 
 
 On silly [' innocent,' ' harmless,' ' helpless '] women or poor.— jTzoo G. of V., iv. i. 
 
 It is silly [' simple,' ' plain '] sooth [' truth ']. — Tw. N., ii. 4. 
 
 Man, in a silly [' simple,' ' plain,' ' homely,' ' rustic '] habit. — Cym., v. 3. 
 
 A single [' simple,' ' plain,' ' insignificant,' ' individual '] thing, as I am now. — Temp., i. 2. 
 
 Single [' singly,' ' simply,' ' plainly'] I '11 resolve you. — Ibid., v. i. 
 
 But the plain single ['simple,' and 'one only'] vow that is. — All's W., iv. 2. 
 
 Your wit single [' simple,' ' feeble,' ' weakly, ' slender,' ' slight'] ? — 2 H. IV., i. 2. 
 
 Pomp was single [' simple,' 'plain,' and 'unmarried ' to grandeur], but now married 
 to one above itself. — H. VIII., i. i. 
 
 I speak it with a single [' simple,' ' guileless '] heart. — Ibid., v. 2. 
 
 * The word " set " has been altered by some emendators in the present passage ; 
 but we have shown it to be the word probably used by Shakespeare, inasmuch as he 
 employs it in the same sense in the passage here cited irom " JCing Richard II." 
 
PECULIAR USE OF WORDS. 59' 
 
 Shakes so my single [' simple,' ' individual,' ' imperfect,' ' fallible,' ' weak,' ' feeble '] 
 state of man. — Macb., i. 3. 
 
 Were poor and single [' simple,' ' weak,' ' feeble,' ' ineffectual,' and ' individual,' 
 ' one only '] business. — Ibid., i. 6. 
 
 Due to some single [' individual,' ' sole '] breast ? — Ibid., iv. 3. 
 
 To scant my sizes [' allotted portions of food,' ' allowances of provision '] . — Lear, ii. 4. 
 
 Skipper ['nimble, forward and frivolous youth '], stand back. — Tarn. 0/ S., ii. i. 
 
 Of modesty thy skipping [' frivolous,' ' light,' 'forward '1 spirit. — Mer. of V., ii. 2. 
 
 In so skipping ['light,' 'frivolous,' 'trivial,' 'vain,' 'irrational'] a dialogue. — Tjf.iV., i.5. 
 
 The skipping [' frivolous,' ' unbefittingly nimble and frequent in motion '] king, he 
 ambled up and down. — 2 H. IV., iii. 2. 
 
 Make the gruel thick and slab ['sticky,' 'glutinous']. — Macb., iv. i. 
 
 What a beast am I to slack [' neglect,' ' delay attending to '] k.^Merry W., iii. 4. 
 
 If then they chanc'd to slack [' neglect,' ' be remiss to '] you. — Lear, ii. 4. 
 
 So slander [' injure,' ' disgrace,' ' abuse '] any moment's leisure. — Hamlet, i. 3. 
 
 As slanderous [' disgraceful '] death's-man. — Lucrece, Stanza 143. 
 
 We have been too slight [' negligent '] in sufferance. — Cym., iii. 5. 
 
 The rogues slighted [' negligently tossed,' ' flung,' ' threw '] me into the river with as 
 little remorse. — Merry W., iii. 5. 
 
 Your most dreadful laws so loosely slighted [' treated with contempt ']. — 2 H. IV., v. 2. 
 
 My letters . . . were slighted [' treated contemptuously and negligently '] off. — 
 yul. 0., iv. 3. 
 
 To part so slightly [' negligently,' ' carelessly '] with your wife's first gift. — 
 Mer. of v., v. i. 
 
 Gone slightly [' easily'] o'er low steps. — H. VIII., ii. 4. 
 
 Should slip ['fall into transgression,' 'err'] so grossly. — M.for M., v. i. 
 
 We '11 slip you [' let your fault pass by,' ' omit to reprove or punish you '] for a 
 season. — Cym., iv. 3. 
 
 The slip [' piece of false money ' and ' sly escape '], sir, the slip. — R. &• ful., ii. 4. 
 
 That you slipp'd [' err'd '] not with any but with us. — W. T., i. 2. 
 
 Lucentio slipp'd [' let loose from the straps of leather in which hounds are held'] 
 me like his greyhound. — Tarn, of S., v. 2. 
 
 Wild, and usual slips [' errors'] as are companions. — Hamlet, ii. i. 
 
 Stand like greyhounds in the slips [' straps of leather in which hounds are held '] , 
 straining upon the start. — H. V., iii. i. 
 
 To pull at a smack [' tincture,' ' twang,' ' flavouring quality '] 0' the contrary. — 
 All's W., ii. 3. 
 
 A smack [' smattering'] of all neighbouring languages. — Ibid., iv. i. 
 
 They smack [' savour,' ' have a tincture, a flavour '] of honour both. — Macb., i. 2. 
 
 Some smatch [' smack,' ' savour,' ' taste,' ' flavour '] of honour in it. — Jul. C, v. 5. 
 
 And smile [' smile derisively,' ' smile in derision '] at Troy ! — Tr. &• Cr., v. 11. 
 
 All the regions do smilingly [' derisively,' ' contemptuously'] revolt. — Coriol., iv. 6. 
 
 I '11 smoke [' smoke-dry,' and ' make game of,' ' detect the pretensions of '] your skin- 
 coat. — John, ii. I. 
 
 He was first smoked [' found out,' ' detected,' and ' smoke-dried '] by the old lord 
 Lafeu.-^//'s W., iii. 6. 
 
 Smooth ['flatter'], deceive, and cog. — R. III., i. 3. 
 
 Seem'd not to strike, but smooth [' flatter,' ' cajole ']. — Per., i. 2. 
 
 You'll mar the light by taking it in snuff ['anger,' and 'burnt candle-wick']. — 
 Love's L. L., v. 2. 
 
 Either in snuffs [' offences taken,' ' angers conceived '] and packings of the dukes. — 
 Lear, iii. i. 
 
 The fitchew, nor the soiled [' pampered,' ' high-fed,' ' full of blood '] horse. — Ibid., iv. 6. 
 
 Not making any scruple of her sailure [' defilement,' 'pollution,' ' stain ']. — 
 Tr. &■ Cr., iv. i. 
 
592 THE SHAKESPEARE KEY. 
 
 To rejoice and solace [' take comfort,' ' take delight' J in. — R. &• yul., iv. 5. 
 
 And solace [' take delight,' ' take joy '] i' the dungeon by a snuff? — Cym., i. 7. 
 
 Which have solicited ['urged thereto,' ' prompted this decision ']. — Hamlet, v. 2. 
 
 This supernatural soliciting [' prompting,' ' urging upon the attention '] cannot be 
 ill. — Macb., i. 3. 
 
 We '11 have a posset for 't soon [' by-and-by '] at night. — Merry W., i. 4. 
 
 He looks like sooth [' truth '].—W. T., iv. 3. 
 
 If I say sooth [' truth '], I must report. — Macb., i. 2. 
 
 To sooth [' give an air of truth to '] your forgery. — 3 H. VI., iii. 3. 
 
 Ay, sooth [' in truth,' ' truly'] ; so humbled. — 0th., iii. 3. 
 
 You sooth' d ['flattered'] not, therefore hurt not. — CorioL, ii. 2. 
 
 I defy the tongues oi soothers [' flatterers ']. — i H. IV., iv. i. 
 
 Is sorer [' worse,' ' more criminal,' ' more injurious '] than to lie for need. — Cym., iii. 6. 
 
 Of sorriest [' grimmest,' ' dismallest'] fancies. — Macb., iii. 2. 
 
 This is a sorry [' grim,' ' ghastly'] sight. — Ibid., ii. 2. 
 
 The place of death and sorry [' sorrovi'ful,' ' dreadful,' ' dismal '] execution. — 
 Com. of E., V. I. 
 
 If it sort [' fall out,' ' happen '] not well. — M. Ado, iv. i. 
 
 Glad that all things sort [' happen,' ' concur '] so well. — Ibid., v. 4. 
 
 Well may it sort [' fit,' ' suit,' ' agree,' ' cohere '], that. — Hamlet, i. i. 
 
 All my pains is sorted [' tended '] to no proof — Tam. ofS., iv. 3. 
 
 Could speak [' proclaim,' ' declare,' ' describe '] thee out. — H. VIII., ii. 4. 
 
 Let me speak [' declare,' ' proclaim,' ' describe '] myself. — Ibid., iii. i. 
 
 Speak [' declare,' ' describe '] to me what thou art. — ^id. C, iv. 3. 
 
 Whose general graces speak [' declare,' ' express '] that which none else can utter. — 
 Ant. &■ C, ii. 2. 
 
 Where that and other specialties [' papers containing special statements or specified 
 particulars'] are bound. — Love's L. L., ii. i. 
 
 Let specialties [' legal papers containing specified particulars '] be therefore drawn 
 between us. — Tam. of S., ii. i. 
 
 For speculation [' sight,' 'power of sight'] turns not to itself. — Tr. &• Cr., iii. 3. 
 
 No speculation ['power of sight,' ' faculty of sight'] in those eyes. — Macb., iii. 4. 
 
 My speculative [' seeing,' 'visual '] and offic'd instruments. — 0th., i. 3. 
 
 And sped [' succeeded,' ' prospered '] you, sir ? — Merry W., iii. 5. 
 
 So be gone ; you are sped [' settled,' ' despatched ']. — Mer. of V., ii. g [Scroll). 
 
 Married, but you two are sped [' settled,' ' ruined,' ' done for ']. — Tam. of S., v. 2. 
 
 I am sped [' settled,' ' despatched,' ' done for ']. — R. &• yul., iii. i. 
 
 I long to hear how they sped [' succeeded,' ' got on '] to-day. — Tr. &• Cr., iii. i. 
 
 You shall know how I speed [' proceed,' ' get on,' ' succeed ']. — Merry W., ii. 2. 
 
 And fear of the queen's speed [' hap,' ' fortune,' ' course of success or failure '] is 
 gone. —W. T., iii. 2. 
 
 Blossom, speed [' proceed,' ' run future course,' ' succeed,' ' prosper '] thee well 1 — 
 Ibid., iii. 3. 
 
 To go speed [' succeed,' ' prosper '] elsewhere. — 3 H. VI., iv. i. 
 
 Is this your speeding [' success,' ' prospering '] i^—Tam. of S., ii. i. 
 
 To-morrow all for speeding ['obtaining success,' ' achieving success'] do their best. — 
 Per., ii. 3. 
 
 Treachers, by spherical [' pertaining to the spheres,' ' spheres-belonging '1 pre- 
 dominance. — Lear, i. 2. 
 
 The over-merry spleen [' fit of laughter ']. — Tam. of S., Indue, i. 
 
 If you desire the spleen [' immoderate mirth '], and will laugh yourselves into stitches. 
 —Tw. N., iii. 2. 
 
 That, in a spleen ['paroxysm of haste'], unfolds. — Mid. N. D., i. i. 
 
PECULIAR USE OF WORDS. 593 
 
 Swifter spleen [' outburst of speed '] than powder can enforce. — y'ohn, ii. 2. 
 
 Hotspur, govern'd by a spleen ['fit of hasty temper']. — i H.IV.., v. 2. 
 
 You are all in all in spleen [' choler,' ' wrath'], and nothing. — Oth.,.iv. i. 
 
 Broken joint . . . entreat her to splinter [' splint']. — Ibid., ii. 3. 
 
 Broken rancour . . . hnt lately spliiiter'd ['spVmted']. — R.. III., ii.z. 
 
 Which spungy [' moist,' ' showery '] April at thy best. — Temp., iv. i. 
 
 From the spungy [' moist,' ' damp '] south to this part of the west. — Cym., iv. 2. 
 
 Other ventures he hath, squandered [' scattered,' ' dispersed'] abroad. — Mer. of ¥.,'1.3. 
 
 The squandering [' variously directed,' ' widely dispensed '] glances of the fool. — 
 As You L,, ii. 7. 
 
 But they do square [' quarrel '] ; that all their elves. — Mid. N. D., ii. i. 
 
 They should square ['quarrel,' ' differ'] between themselves. — Ant. &• C, ii. i. 
 
 Mine honesty and I begin to square ['differ']. — Ibid., iii. 11. 
 
 If report be square ['just,' 'equitable'] to her. — Ibid., ii. 2. 
 
 I have not kept my square ['due regularity of conduct ']. — Ibid., ii. 3. 
 
 I will be squar'd [' regulated '] by this. — W. T., iii. 3. 
 
 Is there no young squarer [' quarreller,' ' brawler,' ' rioter '] now that will. — 
 -If. Ado, i. I. 
 
 Into the staggers [' unsteady courses,' ' misguided deviations from- the right path '] 
 and the careless lapse. — All's W., ii. 3. 
 
 That staggers [' gives this bemldering shock to '] nry person. — R. II., v. 5. 
 
 How come these staggers [' reelings of the brain and totterings of the frame '] on 
 me ? — Cym., v. 5. 
 
 For stale [ ' decoy,' ' lure,' ' bait '] to catch these thieves. — Temp., iv. i. 
 
 Poor I am but his stale [' a shelter from whence to attack game,' and ' that which 
 has become flavourless and unpalatable']. — Com. of E., ii. 2. 
 
 A contaminated stale [' woman hackneyed in evil courses '] such as Hero. — 
 M. Ado, ii. 2. 
 
 To make a stale [' commonised ware,' and ' checked figure,' like a king at chess 
 when checkmated] of me amongst these mates ? — Tam. of S., i. i. 
 
 To cast thy wand'ring eyes on every stale [' lure,' ' bait,' ' decoy,' and ' common 
 worthless fellow']. — Ibid., iii. i. 
 
 Had he none else to make a stale [' butt,' ' dupe,' ' pretence,' ' stalking-horse '] but 
 me? — 3 H. VI., iii. 3. 
 
 So stale [' commonise,' ' degrade,' ' lower '] his palm. — Tr. &• Cr., ii. 3. 
 
 I will venture to stale 't* [' make flat, insipid, poor, or too common,' ' deteriorate by 
 repetition '] a little more. — Coriol., i. i. 
 
 Or did use to stale [' degrade,' ' debase,' ' render poor and common '] with ordinary 
 oaths my love. — Jul. C., i. 2. 
 
 Nor custom stale [' make flat, vapid, or insipid,' ' wear out,' ' exhaust '] her infinite 
 variety. — Ant. &• C, ii. 2. 
 
 An she stand [' withstand,' ' make show of resistance '] him but a little. — Tam. o/S., i. 2 ■ 
 
 Being nature's livery, or fortune's star [' influence on a human being's destiny ']. — 
 Hamlet, i. 4. 
 
 A prince, out of thy star [' sphere,' ' rank of life,' ' appointed destiny or course of 
 fortune']. — Ibid., ii. 2. 
 
 In my stars [' sphere,' ' rank of life,' ' appointed course of fortune '] I am above thee. 
 —Tw. N; ii. 5 {Letter). 
 
 Shall I so much dishonour my fair stars [' rank of life,' ' birth,' ' station '] , on equal 
 terms to give. — R. II., iv. i. 
 
 * The Folio prints ' scale 't ' instead of " stale 't " in this passage ; but we think the 
 mode in which Shakespeare uses the verb " to stale " in the other passages above cited, 
 serve to show that he probably employed the same word in the same sense here 
 likewise. 
 
 2 Q 
 
594 THE SHAKESPEARE KEY. 
 
 Mak'st my blood cold, and my hair to stare ['stand on end,' 'stick upright']. — 
 yid. C, iv. 3. 
 
 With hair up-staring [' standing,' ' sticking']. — Temp., i. 2. 
 
 Aches contract and starve ['destroy,' 'perish,' 'disable'] your supple joints! — 
 Timon, i. i. 
 
 Lest the bargain should catch cold and starve [' perish,' ' die']. — Cym., i. 5. 
 
 Need and oppression starveth [' dwell perishingly,' ' sit starvingly '] in thine eyes. 
 — .R. &■ Jul., V. i. 
 
 Beggars, starving [' longing,' ' hungrily pining '] for n. time of pell-mell havoc and 
 confusion. — i H. IV., v. i. 
 
 Instruments of fear and warning unto some monstrous state [' state of things, 
 affairs, or events ']> — Jid, C, i. 3. 
 
 Thorough the hazards of this untrod state [' state of tilings '] with all true faith. — 
 Ibid., iii. i. 
 
 Sitting in my state ['raised seat, with a canopy over it,' 'chair of dignity']. — 
 Tw. N., ii. 5, 
 
 This chair shall be my state [' throne,' ' royal seat '] . — i H. IV., ii. 4. 
 
 A station [' attitude,' ' position assumed when standing '] like the herald Mercury. — 
 Hamlet, iii. 4. 
 
 Her motion and her station [' attitude when standing,' 'state of repose,' ' remaining 
 still '] are as one. — Ant. &• C, iii. 3. 
 
 My substance should be statue [' representative image,' ' embodied shape.' See 
 " Picture," under the present heading] in thy stead. — Two G. of V., iv. 4. 
 
 The statue [' figure painted in imitation of nature '] is but newly fix'd, the colour s 
 not dry. — PV. T., v. 3. 
 
 To stay ['await'] the providence of some. — jful. C, v. i. 
 
 Vouchsafe awhile to stay [' restrain yourselves '], 
 And I will show you. — John, ii. 2. 
 
 Here 's a stay \' restraint,' ' prudent restrainer' ; with the included sense of ' prop,' 
 ' support.' See Varied Meanings, &c., for fuller explanation of this passage], that 
 shakes. — Ibid., ii. 2. 
 
 What hope, what siay [' point of reliance,' 'available support '], when this was. — 
 Ibid., V. 7. 
 
 Can stead ['aid,' 'assist' 'promote'] the quest. — Per., iii. (Gower). 
 
 Which since have steaded ['benefited,' 'aided'] much. — Temp., i. 2. 
 
 My intercession likewise steads [' benefits '] my foe. — R. &• Jul., ii. 3. 
 
 How stiff [' stubborn,' ' hard,' ' unyielding'] is my vile sense. — Lear, iv. 6. 
 
 This is stiff [' stubborn,' ' hard,' ' harsh,' ' disagreeable '] news. — Ant. <&• C, i. 2. 
 
 And swears she'll never stint [' cease,' ' stop']. — Per., iv. 4 (Gower). 
 
 It stinted [' stopped,' ' ceased,' ' desisted '] and said, " Ay." — R. &• jful., i. 3. 
 
 Now will I stir [' incite,' ' instigate '] this gamester. — As You L., i. i. 
 
 Should stir [' incite,' ' urge '] me most to my revenge. — Hamlet, v. 2. 
 
 An undergoing stomach [' courage,' ' fortitude '] to bear. — Temp., i. 2. 
 
 A man of an unbounded stomach ['pride,' ' haughtiness']. — H. VIII., iv. 2. 
 
 If you must believe, stomach [' take resentfully or wrathfuUy '] not all. — Ant. & C, iii. 4. 
 
 And sharpens the stomach [' appetite ']. — Per., iv. i. 
 
 Not a time for private stomaching ['quarrelling,' 'indulging in resentments']. — 
 Ant. &■ C, ii. 2. 
 He is of a noble strain [' stock,' ' descent,' ' race,' ' lineage ']. — M. Ado, ii. i. 
 The strain [' race '] of man 's bred out into baboon and monkey. — Timon, i. i. 
 Unless he know some strain [' propensity,' ' tendency to evil '] in me. — Merry W., ii. i. 
 I would all of the same strain [' vicious tendency, propensity, or inclination '] were 
 in the same distress. — Ibid., iii. 3. 
 
 Make no strain [' difficulty of doubt,' ' demur '] but that Achilles. — Tr. &• Cr., i. 3. 
 
PECULIAR USE OF WORDS. 595 
 
 I do not strain [' demur '] at the position.^-T)'. <&■ Cr., iii. 3. 
 
 Note, if your lady strain [' urge,' ' press '] his entertainment. — 0th., iii. 3. 
 
 You are so strait [' narrow-minded,' ' parsimonious,' ' niggardly '] and so ingrateful, 
 you deny me that. — yohn, v-. 7. 
 
 Some strait [' strict,' ' rigorous,' ' pinching '] decrees that lie too heavy on the 
 commonwealth. — i H. IV., iv. 3. 
 
 You were straited [' put to straits or difficulties'] for a reply. — W. T., iv. 3. 
 
 Howsoever, strange [' marvellous,' ' out of nature '], and admirable. — Mid. N. D., v. i. 
 
 Hot ice and wondrous strange' [' marvellous,' ' unnatural,' ' anomalous,' ' prodigious 'J 
 snow. — Ibid., v. i. 
 
 Strong reasons make strange [' unusual,' ' anomalous '] actions. — yohn, iii. 4. 
 
 You owe this strange [' marvellous,' ' portentous,' ' supernatural '] intelligence. — 
 Macb., i. 3. 
 
 Heard i' the air; strange ['marvellous,' 'extraordinary,' 'portentous'] screams of 
 death. — Ibid., ii. 3. 
 Hours dreadful and things strange [' marvellous,' ' portentous,' ' unnatural '] . — Ibid., ii. 4. 
 
 You make me strange [' feel strangely,' ' feel doubtful and unacquainted '] even to 
 the disposition that I owe. — Ibid., iii. 4. 
 
 I will be strange ['distant,' 'reserved'], stout ['proud,' 'lofty,' 'dignified,' 
 ' haughty,' ' arrogant '], in yellow stockings. — Tw. N., ii. 5. 
 
 He is strange [' foreign,' ' a foreigner '] and peevish. — Cym., i. 7. 
 
 I am something curious, being strange [' foreign,' ' a foreigner ']. — Ibid., i. 7. 
 
 Fame answering the most strange ['unusual,' 'uncommon,' 'extraordinary'] 
 enquire. — Per., iii. (Gower). 
 
 Ungird thy strangeness [' reserve,' ' distance,' ' stiffness']. — Tw. N., iv. i. 
 
 The father of some stratagem [' dire event,' ' disastrous occurrence,' ' calamity '] : 
 the times are wild. — 2 H. IV., i. i. 
 
 What stratagems [' direful events,' ' calamitous incidents '] , how fell, how butcherly. 
 -3 H. VI., ii. 5. 
 
 A prison for a debtor, that not dares to stride [' overpass,' ' cross over,' ' go beyond '] 
 a limit. — Cym., iii. 3. 
 
 Strong [' confirmed '] anifasten'd [' inveterate '] villain 1 — Lear, ii. i. 
 
 Whose death 's, indeed, the strongest [' most likely,' ' most strongly probable '] in our 
 censure. — Per., ii. 4. 
 
 Fetch our stuff [' luggage,' ' baggage '] irom thence. — Com. ofE., iv. 4. 
 
 Shall I fetch your stuff [' luggage '] from ship-board ? — Ibid., v. i. 
 
 All parts of his subjection ['duty as a subject'] loyally. — Cym., iv. 3. 
 
 When I had subscribed [' submitted '] to mine own fortune. — All's W., v. 3. 
 
 Subscrib'd ['yielded,' 'surrendered'] his power! — Lear, i. 2. 
 
 Subscribes [' yields,' ' gives way,' ' defers '] to tender objects. — Tr. &• Cr., iv. 5. 
 
 And Death to me subscribes [' yields,' ' gives way']. — Sonnet 107. 
 
 You owe me no subscription [' submission,' ' deference,' ' obedience ']. — Lear, iii. 2. 
 
 Like to a bowl upon a subtle [' smooth '] ground. — Coriol., v. 2. 
 
 Give me leave to try success [' issue,' ' consequence,' ' that which follows '] . — 
 All's W., i. 3. 
 
 In whose success [' succession,' ' descent '] we are gentle. — W. T., i. 2. 
 
 And so success ['succession,' 'sequence,' 'following on'] of mischief shall be 
 borne. — 2 H. IV., iv. 2. 
 
 Ere long have knowledge of my success [' progress,' ' that which follows or happens, 
 — whether good or bad']. — Coriol., v. i. 
 
 * Some emendators have proposed to alter the word " strange " in the present 
 passage, in the one from " King John," and in the one from " Pericles " ; but we think 
 the mode in which Shakespeare uses " strange," in the six first instances here collec- 
 tively cited, shows it to be most probably employed also by him in these three passages. 
 
 2 Q 2' 
 
596 THE SHAKESPEARE KEY. 
 
 Bring me their opinions of success [' what will follow or happen,' ' what will be the 
 issue']. — Jul. C, ii. 2. 
 
 My speech should fall into such vile success [' consequence '] as my thoughts aim 
 not at. — 0th., iii. 3. 
 
 What is the success [' issue,' ' following thereon '] ? — Ant. &• C, iii. 5. 
 
 Jealous in honour, sudden [' hasty,' ' rash,' ' passionate,' ' violent '] and quick in 
 quarrel. — As You L., ii. 7. 
 
 As sudden [' hasty '] as flaws congealed in the. — 2 H. IV., iv. 4. 
 
 Deceitful, sudden ['hasty,' 'rash,' 'violent-tempered,' 'passionate'], malicious. — 
 Macb., iv. 3. 
 
 No man's virtue nor sufficiency [' ability,' ' capacity,' ' efficiency,' ' competent power '] 
 to be so moral. — M. Ado,v.i. 
 
 And some sufficient [' capable,' ' efficient,' ' competent '] witnesses. — Tarn, of S., iv. 4. 
 
 That suggest [' incite,' ' tempt '] by treasons. — H. V., ii. 2. 
 
 They do suggest [' tempt,' ' entice '] at first with heavenly shows. — Otk., ii. 3. 
 
 Tender youth is soon suggested ['tempted,' 'enticed,' 'allured']. — Two G. of V., iii. i. 
 
 To thy suggestion ['instigation,' 'incitement'], plot. — Lear, ii. i. 
 
 Our solemn hymns to sullen [' melancholy'] dirges. — R. &• ytil., iv. 5. 
 
 I have a salt and sullen [' churlish,' ' vexatious '] rheum offends me. — 0th., iii. 4. 
 
 Come short of our suppose [' supposition,' ' that which we supposed possible '] 
 so far. — Tr. &• Cr., i. 3. 
 
 While counterfeit supposes [' appearances,' ' assumed characters,' ' incidents cal- 
 culated to inspire supposition '] bleared thine eyne. — Tam. of S., v. i. 
 
 Lest I surcease [' cease '] to honour mine own truth. — Coriol., iii. z. 
 
 No pulse shall keep his native progress, but surcease [' cease,' ' stop ']. — 
 R. &■ Jul., iv. I. 
 
 And catch, with his surcease [' cessation,' ' stop '], success. — Macb., i. 7. 
 
 If we recover that, we are sure [' safe '] enough. — Two G. of V., v. i. 
 
 You are both sure [' reliable,' ' trustworthy '], and will assist me ? — M. Ado, i. 3. 
 
 Though thou ststnd'stTnoTe sure ['securely,' ' stably '] than I could do. — 2 H. IV., iv. 4. 
 
 Still close as sure ['steady,' ' steadfast,' ' to be relied on ']. — Cytn., i. 7. 
 
 Surprise [' take by storm,' 'overpower,' 'make conquest of '] her with discourse of 
 my dear faith. — Tw. N., i. 4. 
 
 I intend but only to surprise [' capture,' ' make conquest of] him. — 3 H. VI., iv. 2. 
 
 So surpris'd [' overcame,' ' overpowered'] my sense. — W. T., iii. i. 
 
 He liv'd from all attainder of suspect [' suspicion ']. — R. III., iii. 5. 
 
 Clear yourself from all suspects [' suspicions']. — 2 H. VI., iii. i. 
 
 Let us sway [' sweep heavily yet impetuously '] on, and face them in the field. — 
 
 2 H. IV., iv. I. 
 
 When all the sway [' ponderous swing '] of earth. — Jul. C, i. 3. 
 
 Now sways [' sweeps heavily yet impetuously '] it this way, like a mighty sea. — 
 
 3 H. VI., ii. 5. 
 
 Or, rather, swaying [' preponderating,' ' leaning,' ' giving weight of influence '] 
 more upon our part. — H. V., i. i. 
 
 So swift [' quick,' ' brisk,' ' alert '] and excellent a wit. — M. Ado, iii. i. 
 
 He is very swift [' quick-witted,' ' ready with his jests '] and sententious. — 
 As You L., V. 4. 
 
 She swore [' averred,' ' affirmed '], in faith, 'twas strange. — 0th., i. 3. 
 
 If that thy valour stand on sympathy [' equality,' ' parity of rank ']. — R. II., iv. i. 
 
 Sympathy [' parity,' ' similarity,' ' equality '] in years, manners, and beauties. — 
 0th., ii. I. 
 
 Affection fall into taint [' attaint,' ' imputation of blame,' ' accusation of injustice']. 
 — Lear, i. i. 
 
 Abjure the taints [' attaints,' ' imputations,' ' accusations '] I laid upon myself. — 
 Macb., iv. 3. 
 
PECULIAR USE OF WORDS. 597 
 
 Nero will be tainted ['touched'] with remorse. — 3 H. VI., iii. i. 
 
 Or tainting [' attainting,' ' impugning,' ' throwing a slur upon '] his discipline. — 
 0th., ji. I. 
 
 To take ['engage,' 'take possession of] your imagination. — Per., iv. 4 (Gower). 
 
 And take ['destroy,' 'blast,' 'annihilate'] the one by the other. — Coriol., iii. i. 
 
 And takes [' strikes,' ' blasts,' ' bewitches,' ' affects with disease '] the cattle. — 
 Merry W., iv. 4. 
 
 No fairy takes [' blasts,' ' bewitches'], nor witch hath power. — Hamlet, i. i. 
 
 You taking [' blighting,' ' blasting,' ' infecting '] airs. — Lear, ii. 4. 
 
 Bless thee from whirlwinds, star-blasting, and taking [' blighting,' ' infection '] ! — 
 Ibid., iii. 4. 
 
 Every tongue brings in a several tale [' heavy reckoning,' ' account of misdeeds ], 
 and every tale condemns me. — R. III., v. 3. 
 
 As thick as tale [' successive reckoning,' ' counting one after the other '], came post 
 with post. — Macb., i. 3. 
 
 And both as light as ia/«s ['reckoned numbers' and 'trivial stories']. — Mid.N.D.,ui.2. 
 
 Five talents [' sums of about ;^243 igi., English, each'] is his debt. — Timon, i. i. 
 
 Beyond all talents [' sums of wealth ']. — Cyni., i. 7. 
 
 Behold these talents [' rich tresses '] of their hair. — Lover's Comp., Stanza 30. 
 
 He is as tall [' able,' ' bold ' ; including the effect of ' high in stature '] a man of his 
 hands as any. — Merry W., i. 4. 
 
 Thou 'rt a tall [' brave,' ' reliable '] fellow. — Tarn, of S., iv. 4. 
 
 He 's as tall [' stout,' ' able,' ' bold,' ' valorous 'J a man as any 's in. — Tw. iV., i. 3. 
 
 I am not tall [' stout,' ' vigorous,' ' robust '] enough to. — Ibid., iv. 2. 
 
 A tail [' valorous,' ' able-bodied,' ' stout,' ' bold '] gentleman. — 2 H. IV., iii. 2. 
 
 I task [' summon as .testimony,' ' cite in proof] the earth to the like. — R. II., iv. i. 
 
 Task'd [' taxed '] the whole state. — i H. IV., iv. 3. 
 
 How show'd his tasking [' challenging,' ' citing,' ' summoning'] ? seem'd it in con- 
 tempt ? — Ibid., V. 2. 
 
 Purposely on others, to taste [' test,' ' try,' ' prove '] their valour.— Tzb. JV., iii. 4. 
 
 Let me taste [' try,' ' prove,' ' put to the test '] my horse. — i H. IV., iv. i. 
 
 But, tasting [' experiencing '] it, their counsel. — M. Ado, v. i. 
 
 By tasting [' trying,' ' testing,' and ' experiencing '] of our wrath ? — Cym., v. 5. 
 
 That tell [' assert,' ' say '] you have good faces. — Coriol., ii. i. 
 
 ■With moderate haste might tell [' count,' ' reckon '] a hundred. — Hamlet, i. 2. 
 
 As thou canst tell [' count,' ' reckon '] in a year. — Lear, ii. 4. 
 
 ■What damned minutes tells [' counts '] he o'er. — 0th., iii. 3. 
 
 ■Where you may temper [' mould '] her, by your persuasion. — Two G. of V., iii. 2. 
 
 To temper [' mould,' ' work to proper consistency '] clay. — Lear, i. 4. 
 
 Rightly temper [' mould themselves consistently'] with the stars. — 3 H. VI., iv. 6. 
 
 A poison, I would temper [ostensibly used in the sense of ' mix,' ' prepare,' really 
 used in the sense of ' mingle,' ' allay,' ' weaken by introduction of innocuous matter '] 
 it. — R. &• jftil., iii. 5. 
 
 A man of such a feeble temper [' temperament,' ' constitutional quality '] should so 
 get the start of.— Jul. C, i. 2. 
 
 Of subtle, tender, and dehcate temperance ['temperature']. — Temp., ii. i. 
 
 It is a poison temper d [' mixed,' ' prepared 'J by himself. — Hamlet, v. 2. 
 
 I have him already tempering [' manipulating,' ' preparing for use, like soft wax '] 
 between my finger and my thumb, and shortly will I seal with him. — 2 H. IV., iv. 3. 
 
 Which I tender [' hold,' ' prize,' ' value,' ' esteem '] dearly. — As You L., v. 2. 
 
 Thou mak'st some tender ['loving regard,' 'affectionate care'] of my life. — 
 I H. IV.. V. 4. 
 
 The tent [' roll of lint used by surgeons in searching a wound '] that searches to the 
 bottom of the worst. — Tr. &• Cr., ii. 2. 
 
5g8 THE SHAKESPEARE KEY. 
 
 Nor tent [' curatively search '] to bottom that. — Cym., iii. 4. 
 
 The themes [' muscular strength,' ' bodily vigour,' ' sinewy power '] , the stature, bulk. 
 —2 H. IV., iii. 2. 
 
 .Have thewes ['muscles,' 'sinews,' 'physical strength'] and limbs like to their 
 ancestors. — yul. C, i. 3. 
 
 Does not grow alone in thewes [' muscular power,' ' physical strength,' ' sinewy 
 vigour '] and bulk. — Hamlet, i. 3. 
 
 Think ['take to heart,' ' grieve,' ' reflect mournfully,' ' give way to sorrowful pen- 
 siveness'], and die. — Ant. &• C, iii. g. 
 
 Begot of thought ['melancholy reverie'], conceived of spleen. — As You L., iv. i. 
 
 She pin'd in thought [' mournful reflection '] ; and. — Tw. N., ii. 4. 
 
 Take thought [' anxious reflection'], and die for C^sar. — yul. C, ii. i. 
 
 Sicklied o'er with the pale cast of thought [' melancholy reverie ']. — Hamlet, iii. i. 
 
 Thought ['melancholy,' ' mournfulness,' 'sadness'] and affliction, passion. — 
 Ibid., iv. 5. 
 
 If swift thought [' grieving reflection,' ' taking to heart '] break it not, a swifter mean 
 shall outstrike thought, but thought will do't, I feel. — Ant. &• C, iv. 6. 
 
 Thou shalt be pinch'd as thick [' numerously spotted and indented '] as honey-comb. 
 — Temp., i. 2. 
 
 Thick ['ply me quickly and plentifully with questions'], thick, spare not me. — 
 All's W., ii. 2. 
 
 Speaking thick [' rapidly,' ' quickly,' ' fast,' ' in close succession,' ' in swift accumu- 
 lation '] which nature made his blemish. — 2 H. IV., ii. 3. 
 
 As thick ['rapidly in succession '] as tale. — Macb., i. 3. 
 
 My heart beats thicker [' more rapidly,' ' faster '] than a fev'rous pulse. — 
 Tr. &■ Cr., iii. 2. 
 
 All thin [' thinly clad,' ' bare '] and naked. — R. III., ii. i. 
 
 Than these thin [' slender,' ' bare '] habits [' assumptions,' ' cloaks of speech '] and 
 poor Hkelihoods.-— 0;A., i. 3. 
 
 I have a mind presages me such thrift [' gain,' ' profit,' ' advantage,' ' prosperity,' 
 ' thriving '] that I should. — Mer. of V., i. i. 
 
 To the doer's thrift [' advantage,' 'benefit']. — Cym., v. i. 
 
 A man throng'd [' pierced,' 'beset,' and 'hard pressed'] with cold. — Per., ii. i. 
 
 Here one, being throng'd [' pressed,' ' crowded '] bears back. — Lucrece, Stanza 203. 
 
 Abate throw [' cast of the dice '] at Novum. — Love's L. L., v. 2. 
 
 You can fool no more money out of me at this throw [' time,' ' while ;' and ' cast of 
 the dice,' and ' cast of a fishing-net '], — Tw. N., v. i. 
 
 Thou whoreson little tidy [' plump,' ' well-conditioned '] Bartholomew boar-pig. — 
 2 H. IV., ii. 4. 
 
 My queen 's a squire more tight [' adroit,' ' dexterous,' ' handy 'J at this than thou. — 
 Ant. &• C, iv. 4. 
 
 Bear you these letters tightly [' adroitly,' ' briskly ']. — Merry W., i. 3. 
 
 ' Tis true that you have lately told [' foretold '] us. — Coriol., i. i. 
 
 I will buy me a son-in-law in a fair, and toll [• pay toll for the liberty of selling '] 
 this one. — All's W., v. 3. 
 
 To be partner'd with tomboys [' hoydens,' ' bold roistering wenches ']. — Cym., i. 7. 
 
 I did dream of money-bags to-night [' last night ']. — Mer. of V., ii. 5. 
 
 He took good rest to-night [' last night ']. — W. T., ii. 3. 
 
 We shall have revelling to-night [' this coming night ']. — M. Ado, i. i. 
 
 Of feasting forth to-night [' this coming night ']. — Mer. of V., ii. 5. 
 
 This night [' this coming night '] he meaneth with. — Two G. of V., ii. 6. 
 
 If for this night [' this coming night '] he entreat you. — M.for M., iii. i. 
 
 Meant to acknowledge it this night [' this coming night '] in a dance. — M. Ado, i. 2. 
 
 Tell me how it came this night [' last night '], that I. — Mid. N. D., iv. i. 
 
PECULIAR USE OF WORDS. sgg 
 
 Half my power this night [' last night '], passing. — John, v. 6. 
 
 Where it did mark, it took ['blasted,' ' struck annihilatingly ']. — Coriol., ii. z. 
 
 Must bide the touch [' test,' ' proof,' ' trial']. — i H. IV., iv. 4. 
 
 Now do I play the touch'l' touchstone '], to try if. — R. III., iv. 2. 
 
 Oh, thou touch [' touchstone,' ' test '] of heart ! — Timon, iv. 3. 
 
 A touch [' perceptive sense,' ' susceptibility of being touched by'], a feeling of their 
 afflictions. — Temp., v. i. 
 
 So excellent a touch [' denotement,' ' indication,' ' trait'] of modesty. — Tw. N., ii. i. 
 
 Give your friend some touch [' hint,' ' inkling,' ' indication'] of your late business. 
 —H. VIII., V. I. 
 
 One touch [' sympathetic feeling,' ' perceptive trait,' ' keen sense '] of nature makes 
 the whole world kin. — Tr. &• Cr., iii. 3. 
 
 He wants the natural touch [' spark of feeling,' ' sympathetic perception or sense ']- 
 — Macb., iv. 2. 
 
 A touch [' keen sense,' ' acute perception,' ' pang,' ' throe '] more rare subdues all 
 pangs, all fears. — Cym., i. 2. 
 
 Spirits are not finely touch'd [' gifted with acute perception,' ' endowed with keen 
 sense '] but to fine issues. — M.for M., i. i. 
 
 How seems he to be touched [' affected '] ?- — Ihid., iv. 2. 
 
 You touch'd [' hit upon,' ' penetrated '] my vein at first. — As You L., ii. 7. 
 
 What villain touch'd [' pierced '] his body, that did stab, and not for justice ? — 
 Jul. C, iv. 3. 
 
 Some lively touches [' traits,' 'hints,'] of my daughter's favour. — As You L., v. 4. 
 
 With more urgent touches [' points of interest,' ' motives ']. — Ant. &• C, i. 2. 
 
 Upon the rack of this tough [' inexorable,' ""pitiless,' ' unrelenting,' ' unyielding '] 
 world stretch him out longer. — Lear, v. 3. 
 
 All my joy trace [' attend,' ' follow closely,' ' keep up with '] the conjunction [' union,' 
 ' match,' ' marriage '] ! — H. VIII., iii. 2. 
 
 And all unfortunate souls that trace [' follow,' ' succeed '] him in his line. — Macb., iv. i. 
 
 Who else would trace [' follow,' ' emulate,' ' imitate '] him. — Hamlet, v. 2. 
 
 Thus translate [' reveal,' ' describe '] him to me. — Tr. &■ Cr., iv. 5. 
 
 You must translate [' explain,' ' reveal '] : 'tis fit we understand. — Hamlet, iv. i. 
 
 Or some enchanted trijie [' phantasm,' ' illusion ']. — Temp., v. i. 
 
 Win us with honest trifles [' illusions,' ' unsubstantial predictions '] to betray us 
 in deepest consequence. — Macb., i. 3. 
 
 With pomp, with triumph [' stately pageant,' ' processional show '] , and with revelling. 
 —Mid. N. D., i. I. 
 
 Hold those justs and triumphs [' pageants,' ' celebrations ']. — R. II., v. 2. 
 
 Marry, how ? Tropically [' metaphorically,' ' figuratively,' ' by means of a trope.' 
 See " Spherical," under the present heading]. — Hamlet, iii. 2.. 
 
 To be no true [' honest '] man. — M. Ado, iii. 3. 
 
 Shall have all true [' rightful,' 'just '] rites. — JmZ, C, iii. i.. 
 
 That lies enclosed in this trunk [' body ']. — W. T., i. 2. 
 
 Are empty trunks [' bodies ' ; with an allusion to richly carved ' chests '], o'erflourish'd 
 by the devil. — T'ui. N., iii. 4. 
 
 Having sworn truth [' fidelity,' ' constancy '], ever will be true. — Ibid., iv. 3. 
 
 Thy father bears the type [' crown,' ' symbol of sovereignty '] of King of Naples. — 
 3 H. VI., i. 4- 
 
 The high imperial type [' crown,' ' symbol <rf royalty '] of this earth's glory. — 
 R. III., iv. 4. 
 
 His umbrage ['shadow'], nothing more. — Hamlet, v. 2. 
 
 And his unbookish [' ignorant,' 'inexperienced'] jealousy must construe. — 0th., iv. i. 
 
 Uncase ['take off outer garments'] thee; take my colour'd hat and cloak. — Tarn, 
 of S., i. I. 
 
6oo THE SHAKESPEARE KEY. 
 
 Pompey is uncasing [' taking off his outer garments '] for the combat ? — Love's L.L.,v. 2. 
 
 How able such a work to undergo [' undertake' and ' sustain ']. — 2 H. IV., i. 3. 
 
 You undergo ['undertake to support'] too strict a paradox. — Timon, iii. 5. 
 
 To undergo ['undertake'] with me an enterprise. — Jul. C, i. 3. 
 
 Virtues . . . as infinite as man may Mjuf^j-g-o [' sustain,' 'possess']. — Hamlet, i. 4.. 
 
 Undergo ['undertake'] those employments. — Cym., iii. 5. 
 
 His name and credit shall you undertake ['assume']. — Tarn. o/S., iv. 2. 
 
 Lordship should undertake [' engage with,' ' fight with '] every companion. — Cym., ii. i. 
 
 I pr'ythee, now, ungird ['unbend,' 'relax'] thy strangeness. — Tu). A'., iv. i. 
 
 I should judge now unhappily ['mischievously']. — H. VIII., i. 4. 
 
 Oh, most unhappy [' ill-conditioned'] woman ! — Com. of E., iv. 4. 
 
 Arm d for some unhappy [' offensive,' ' abusive,' ' uncivil '] words. — Tarn, of S., ii. i. 
 
 A shrewd knave and an unhappy [' ill-conditioned']. — AlVs W., iv. 5. 
 
 Dubbed with unhatched [' unbacked '] rapier. — Tw. N., iii. 4. 
 
 Or some unhatch'd [' undeveloped '] treason. — 0th., iii. 4. 
 
 Bid them farewell, Cordelia, though unkind [' unnatural ' and ' unaffectionate.' See 
 " Kindless," under the present heading]. — Lear, i. i. 
 
 She had not brought forth thee, hut died unkind [' without offspring,' ' childless ']. — 
 V. &■ Adon., Stanza 34. 
 
 And not unluckily [' perversely'], against the bias. — Tarn, of S., iv. 5. 
 
 This unprevailing [' unavailing '] woe. — Hamlet, i. 2. 
 
 An unquestioned ['avoiding question.' See "Questionable," under the present 
 heading] spirit, which you have not. — As You L., iii. 2. 
 
 What, all unready ['undressed,' 'half-dressed'] so? — i H. VI., ii. i. 
 
 Like a green girl, unsifted [' untried, ' untested,' ' inexperienced.' See " Sifted," under 
 the present heading] in-such perilous circumstance. — Hamlet, i. 3. 
 
 So my untruth [' disloyalty '] had not provok'd. — R. II., ii. 2. 
 
 Let all untruths [' unfaithfulness,' ' inconstancy '] stand by thy stained name. — 
 Tr. S- Cr., v. 2. 
 
 Ay, tell me that, and unyoke [' have done,' ' give over,' ' cease,' ' desist ' : from the 
 unyoking of oxen at the end of their labour]. — Hamlet, v. i. 
 
 He lent it me awhile, and I gave him use [' interest,' ' usurious advantage '] for it. — 
 M. Ado, ii. I. 
 
 Make use [' interfist,' ' profit '] now, and provide. — H. VIII., iii. 2. 
 
 These things are beyond all use [' usual event,' ' customary occurrence '], and I do 
 fear them. — Jul. C, ii. 2. 
 
 The other half in use [' trust,' ' present power over,' ' for future transferred posses- 
 sion '] to render it. — Mer. of V., iv. i. 
 
 My full heart remains in tise [' trust,' ' pledge,' ' guarantee for future possession '] 
 with you. — Ant. &• C, i. 3. 
 
 If I have ns'd [' behaved,' ' conducted '] myself unmannerly. — H. VIII., iii. i. 
 
 Of two usuries ['iniquitous pursuits,' 'improper practices'], the merriest was put 
 down. — M.for M., iii. 2. 
 
 Did you but know the city's usuries [' unfair ways,' ' imposing practices,' ' extor- 
 tionate dealings ']. — Cym., iii. 3. 
 
 Champion me to the utterance ['.uttermost,' 'extremity': French, oairance].— 
 Macb., iii. i. 
 
 Behoves me keep at utterance [' uttermost,' ' extreme of defiance']. — Cym., iii. i. 
 
 That doth utter [' sell,' 'vend '] all men's ware-a. — W. T., iv. 3 (Song). 
 
 Not utter'd [' sold '] by base sale oi.— Love's L. L., ii. i. 
 
 And utters [' sells ' and ' speaks '] it again. — Ibid., v. 2. 
 
 Death to any he that utters [' sells,' ' vends '] them. — R. &• Jul., v. r. 
 
 Then vail ['lower'] your ignorance. — Coriol., iii. i. 
 
 Did vail [' lower,' ' stoop '] their crowns, to his supremacy. — Per., ii. 3. 
 
PECULIAR USE OF WORDS. 6oi 
 
 Vail [' pay homage,' ' give deferential honour '] to her mistress Dian. — Per., iv. 
 (Gower). 
 
 With thy vailed [' lowered,' ' drooped '] lids. — Hamlet, i. 2. 
 
 Vailing [' lowering '] her high-top lower than her ribs. — Mer. of V., i. i. 
 
 To be a little vain [' untrue,' ' hyperbolical,' ' adulatory ']. — Com. of E., iii. 2. 
 
 There's no man is so vain ['wanting in good sense,' 'unwise,' 'foolish'], that 
 would refuse so fair. — Ibid., iii. 2, 
 
 Whose high respect and rich validity [' value,' ' worth '] did lack a parallel. — 
 All's W., V. 3. 
 
 Of what validity [' value '] and pitch soever. — Tvi. N., i. i. 
 
 Some vanity [' illusion,' ' magic show,' 'vision '] of mine art. — -Temp., iv. i. 
 
 If I were much in love with vanity [' frivolity,' ' light pursuit '] ! — i H. IV., v. 4. 
 
 So light is vanity [' vain delight,' ' trivial pursuit ']. — R. &• Jul., ii. 6. 
 
 When the doctor spies his vantage [' opportunity '] ripe. — Merry W., iv. 6. 
 
 With his next vantage [' favourable opportunity']. — Cym., 1. 4. 
 
 For that vast [' dark and desolate space'] of night. — Temp., i. 2. 
 
 Shook hands, as over a vast [' wide extent of distance,' 'large space ']. — W. T., i. i. 
 
 In the dead vast [' dark and desolate space '] and middle of the night. — Hamlet, i. 2. 
 
 Who, like a late-sack'd island, vastly [' in a waste and desolate manner '] stood. — 
 Liicrece, Stanza 249. 
 
 Our play leaps o'er the vaunt ['van,' ' avant,' ' previous portion,' 'beginning']. — 
 Tr. &■ Cr. (Prologue). 
 
 Did promise most venerable ['admirable,' ' worshipable,' ' that which is to be revered 
 or venerated '] worth. — Tw. N., iii. 4. 
 
 Could do no vengeance [' mischief,' ' harm '] to me. — As You L., iv. 3 (Letter). 
 
 A trusty villain ['bondman,' ' vassal '], sir. — Com. of E., i. 2. 
 
 My villain [' serf,' ' feudal retainer,' ' vassal ']. — Lear, iii. 7, 
 
 May vie [' compete,' ' parallel,' ' be equal in '] honour with you. — Per., iii. i. 
 
 With the dove of Paphos might the crow vie [' compete in '] feathers white. — 
 Ibid., iv. (Gower). 
 
 Kiss on kiss she vied [' proffered in competition '] so fast. — Tam. of S., ii. i. 
 
 Trust to thy single virtue [' valour,' ' courage ']. — Lear, v. 3. 
 
 Oh, infinite virtue [' valour,' ' courage '] com'st thou.— ^«i, &• C, iv. 8. 
 
 This visitation [' consolatory advent '] shows it. — Temp., iii. i. 
 
 That you have lent him visitation [' consoling advent or repair ']. — M. for M., iii. 2 
 
 Hath got the voice [' suffrage,' ' vote'] in hell for excellence. — H. V., ii. 2. 
 
 The people must have their voices [' suffrages,' ' votes ']. — Coriol., ii. 2. 
 
 Doth spit and void [' eject '] his rheum upon. — H. V., iii. 5. 
 
 Or void [' quit,' ' leave,' ' depart from '] the field. — Ibid., iv. 7. 
 
 If you'll iio«cAsa/« ['please to accept.' S«e Eluptically Used Words for other 
 instances of " vouchsafe " thus used] me. — M. Ado, iii. 2. 
 
 Vouchsafe [' be pleased to approve and accept '] my labour. — Timon, i. i. 
 
 'Tis a vulgar [' commonly or publicly known '] proof. — Tw. N., iiL 2. 
 
 That buildeth on the vulgar [' common,' ' plebeian,' ' general,' ' popular '] heart. — 
 2 H. IV., i. 3. 
 
 The most vulgar [' commonly or generally known '] to sense. — Hamlet, i. 2. 
 
 Most sure and vulgar ['commonly or generally known,' 'publicly reported']. — 
 Lear, iv. 6. 
 
 That vulgars ['common people'] give bold'st titles. — W. T., iu i. 
 
 So vulgarly [' publicly and coarsely '] and personally accus'd. — M.for M., v. i. 
 
 The English bottoms have waft [' wafted '] o'er. — John, ii, i. 
 
 When he, wafting [' turning '] his eyes to the contrary. — W. T., i. 2. 
 
 'Who wafts ['waves to,' ' beckons to '] us yonder. — Com. of E., ii. 2. 
 
6o2 THE SHAKESPEARE KEY. 
 
 Whom Fortune with her ivory hand wafts [' waves,' ' beckons '] to her. — Timon, i. i. 
 Too weak to wage [' maintain '] an instant trial. — i H. IV., iv. 4. 
 And choose to wage [' contend,' ' wage war '] against. — Lear, ii. 4. 
 To wake and wage [' maintain,' ' carry on,' ' encounter,' ' undertake '] a danger 
 profitless. — Otk., i. 3. 
 
 His taints and honours waged [' maintained contending strength '] equal with him. 
 — Ant. &• C, V. I. 
 
 Nor the commodity wages [' equals,' ' maintains equal pace '] not with the danger. 
 —Per., iv. 3. 
 
 Which here we waken [' rouse into energy.' See Idioms for other passages where 
 " awake " and " wake " are similarly used] to our country's good. — R. III., m, y. 
 
 Doth want [' stand in need of] her proper limbs. — Ibid., iii. 7. 
 
 Makes the wappen'd [' worn out,' ' stale.' Shakespeare uses the epithet " o'er-worn," 
 applied to a widow, in the first scene of "King Richard III."] widow wed again. — 
 Timon, iv. 3. 
 
 Sent to warn [' summon '] them to his royal presence. — R. III., i. 3. 
 
 Who is it that hath warn'd [' summoned '] us to the walls ? — John, ii. i. 
 
 With wine and wassail [' feasting'] so convince. — Macb., i. 7. 
 
 At wakes and wassails [' feastings '], meetings. — Love's L. L., v. 2. 
 
 She shall watch [' keep awake '] all night. — Tarn, of S., iv. i. 
 
 The longest night that e'er I watched [' kept awake ']. — Two G of V., iv. 2. 
 
 Sick to-morrow for this night's watching [' keeping awake ']. — R. &• Jul., iv. 4. 
 
 Was well worth watching [' keeping awake ']. — Cym., ii. 4. 
 
 Ween [' imagine,' ' think,' ' suppose '] you of better luck. — H. VIII., v. i. 
 
 Weening [' thinking,' ' imagining '] to redeem. — i H. VI., ii. 5. 
 
 The world to weet [' know,' ' be aware '] we stand up peerless. — Ant. &• C, i. i. 
 
 The weird [' witch,' ' fatal,' ' prophetic '] sisters. — Macb., i. 3. 
 
 These weird [' witch,' ' fatal,' ' prophetic'] sisters saluted me. — Ibid., i. 5 (Letter). 
 
 He that went [was ' dressed,' ' attired,' or ' apparelled 'J like a base-viol, in a case of 
 leather. — Com. o/"£., iv. 3. 
 
 How looked he ? Wherein went [' was dressed '] he ? — As You L., iii. 2. 
 
 And he went [' was dressed '] still in this fashion.^-Tw. N., iii. 4. 
 
 Never lack'd gold, and yet went [' dressed'] never gay. — 0th., ii. i. 
 
 Oh, how the wheel [' burden ' of a ballad ; also suggesting the idea of the instrument 
 of torture called " the wheel "] becomes it ! — Hamlet, iv. 5. 
 
 Had first been whole [' sound in health,' ' well,' ' not ill,' ' unsick '], ere he by sick- 
 ness had. — I H. IV., iv. i. 
 
 And not wholesome [' favourable,' ' beneficial,' ' propitious '] toour cause. — H. VIII, iii. 2. 
 
 Speak to them, I pray you, in wholesome [' propitiatory,' ' gracious,' ' conciliatory '] 
 manner. — Coriol., ii. 3. 
 
 If it shall please you to make me a wholesome [' gracious,' ' favourable '] answer . . 
 make you a wholesome [' rational,' ' sane,' ' healthy '] answer. — Hamlet, iii. 2. 
 
 Good morrow, good wife [' woman.' Falstaff says it in this sense, while Dame 
 Quickly takes it in the sense of ' married woman ']. — Merry W., ii. 2. 
 
 A cause between an orange-wife [' woman '] and a fosset-seller. — Coriol., ii. i. 
 
 A fellow almost damn'd in a fair wife* [' woman ']. — 0th., i. i. 
 
 Though inclination be as sharp as will [' determination ']. — Hamlet, iii. 3. 
 
 To the perpetual wink [' closed eyes '] for aye might put this ancient morsel. — 
 Temp., ii. i. 
 
 Although you judge I wink [' have my eyes closed ']. — Two G. of V., i. 2. 
 
 I '11 wink [' shut my eyes '] and couch. — Merry W., v. 5. 
 
 • " Wife " has been suspected of error in this passage : but if the mode be observed 
 in which the word is used in the other passages here cited, and " wives " as cited a 
 little farther on, we think it will be seen to be the correct reading. 
 
PECULIAR USE OF WORDS. 603 
 
 To wish [' recommend'] him wrestle with affection. — M. Ado, iii. i. 
 
 I will wish [' recommend '] him to her father. — Tarn, of S., i. i. 
 
 And wish [' recommend '] thee to a shrewd. — Ihid., i. 2. 
 
 When man was wish'd' [' recommended,' ' desired,' ' enjoined '] to love his enemies. 
 — Timon, iv. 3. 
 
 Only shape thou thy silence to my wit [' intelligence,' ' sagacity']. — Tw. N., i. 2. 
 
 Shall suffer what wit [' ingenuity,' ' skill in cruelty,' ' barbarous invention '] can 
 make heavy. — W. T., iv. 3. 
 
 Away with scrupulous wit [' policy,' ' ingenuity '] ! now arms must nile. — 
 3 H. VI., iv. 7. 
 
 Since brevity is the soul of wit [' wisdom,' ' intelligential acuteness ']. — Hamlet, ii. 2. 
 
 Now please you wit [' know,' ' understand '] the epitaph is. — Per., iv. 4 (Gower). 
 
 As witting [' knowing'] I no other comfort have. — i H, VI., ii. 5. 
 
 If I drown myse\i wittingly ['knowingly']. — Hamlet, v. i. 
 
 The deep-revolving witty [' sagacious,' ' perspicacious,' and ' ingenious,' ' full of clever 
 devices '] Buckingham. — R. III., iv. 2. 
 
 You must be witty [' alert-minded,' ' quick-witted '] now. — Tr. &• Cr., iii. 2. 
 
 With men, with wives [' women '] and boys. — H. V., v. (Chorus). 
 
 Lest that thy wives [' women '] with spits, and boys with stones. — Coriol., iv. 4. 
 
 Men, wives [' women '] and children, stare. — y«Z. C, iii. i. 
 
 Like a wood [' mad,' ' distracted,' ' crazy '] woman ! — Two O. of V., ii. 3. 
 
 Raging wood [' mad '] did flesh his. — i H. VI., iv. 7. 
 
 Am I a woodman [' huntsman,' ' sportsman,' ' one who chases female game '], ha ? — 
 Merry W., v. 5. 
 
 He 's a better woodman [' huntsman,' ' sportsman,' ' a chaser of female game '] than 
 thou takest him iox.-r-M.for M., iv. 3. 
 
 Have proved best woodman ['huntsman,' ' sportsman ']. — Cym., iii. 6. 
 
 What, the sword and the word [' the Scriptures,' ' Holy Writ '] ! Do you study them 
 both, master parson ? — Merry W., iii. i. 
 
 Do set the word [' Holy Writ '] itself against the word. — R. II., v. 5. 
 
 The hopeless word [' short phrase,' ' sentence '] of " never to return." — Ibid., i. 3. 
 
 A time for such a word [' sentence ']. — Macb., v. 5. 
 
 Now to my word [' watchword '] ; it is, "Adieu, adieu ! remember me." — Hamlet, i. 5. 
 
 Give the word [' watchword,' ' password '] . — Lear, iv. 6. 
 
 The word [' motto '], " Lux tua vita mihi." — Per., ii. 2. 
 
 Some words [' dispute,' ' contention '] there grew 'twixt. — i H. VI., ii. 5. 
 
 To fill the world with words [' disputing,' ' wrangling '] ? — 3 H. VI., v. 5. 
 
 Not so rich in worth [' rank,' ' wealth,' ' worldly position or estimation '] as 
 beauty.— W. T., v. i. 
 
 Not for the worth ['amount of value'] that hangs upon our quarrel. — Tr. &• Cr., ii. 3. 
 
 And to have his worth [' pennyworth,' ' full amount,' ' fill,' ' full swing '] of con- 
 tradiction. — Coriol., iii. 3. 
 
 Found this trespass worth ['deserving of] the shame which here it suffers. — 
 Lear, ii. 4. 
 
 Me, wretch, more worth [' deserving,' 'meriting'] your vengeance. — Cym., v. i. 
 
 A peevish schoolboy, worthless * [' unworthy '] of such honour. — yicl. C, v. i. 
 
 He has much worthy ['deserved,' ' merited'] blame laid upon him for. — All's H''.,iv.3. 
 
 * Shakespeare often uses words ending in "less" with some latitude of signification ; 
 and he is followed in this practice by a poet of our own day, who, in his poem of 
 " Vivien," uses the word " selfless " to express ' unselfish.' So Shakespeare uses 
 "artless," "aweless," " kindless," "mindless," "needless," "opposeless." "sightless," 
 " timeless," " topless," " trustless," " viewless," " woundless," &c., with quite peculiar 
 meaning. 
 
6o4 THE SHAKESPEARE KEY. 
 
 To worthy [' merited'] danger and deserved death. — R. II., v. i. 
 
 For a score of kingdoms you should wrangle [^ Ais^xite,' ' contend overbearingly '], 
 and I vjfould call it fair play. — Temp., v. i. 
 
 And wrangle [' dispute,' ■' altercate '] with my reason. — Tw. N., iv. 3. 
 
 To those that wring [' vi^rithe,' ' feel acutely '] under the load of sorrow. — M. Ado, v. i. 
 
 He wrings [' writhes in anguish,' ' feels acutely '] at some distress. — Cym., iii. 6. 
 
 Patiently to bear my wroth [' that which causes writhing ' ; ' misfortune,' ' calamity,' 
 ' disaster ']. — Mer. of V., ii. 9. 
 
 Yare [' alertly,' ' promptly ''\,yare ! Take in the top-sail. — Temp., i. i. 
 
 You shall find me yare [' ready,' 'prompt,' ' apt']. — M.for M., iv. 2. 
 
 That yarely ['alertly,' ' dexterously'] frame the office. — Ant. &■ C, ii. 2. 
 
 Whom zeal ['religious virtue,' ' piety'] and charity brought to the field as God's own 
 soldier. — jfohn, i. 2. 
 
 With tears of innocency and terms of zeal [' piety,' ' religious fervour,' ' holiness ']. — 
 
 1 H. IV., iv. 3. 
 
 Shakespeare occasionally uses the word " there " in reference to some 
 place inferred, rather than directly mentioned : — 
 
 He came too late, the ship was under sail : 
 
 But there the duke was given to understand. 
 
 That in a gondola were seen together 
 
 Lorenzo and his amorous Jessica. — Mer. of V., ii. 8. 
 
 And sometimes in reference to a time or circumstance, not to a 
 place : — 
 
 Why, as I told thee, 'tis a custom with him 
 
 r the afternoon to sleep : there thou may'st brain him. — Temp., iii. 2. 
 
 Bearing in mind the above-named peculiarities of our author when 
 occasionally using the word " there," we are inclined to believe it to 
 have been employed by him in the following passage, although it has 
 been suspected of misprint in the First Folio. If " our most quiet 
 there " be what Shakespeare wrote, we take it to signify ' the supreme 
 quiet which we enjoyed in the stream of time ' : — 
 
 We see which way the stream of time doth run. 
 
 And are enforc'd from our most quiet there 
 
 By the rough torrent of occasion. — 2 H. IV., iv. i. 
 
 The word "though" is also used by Shakespeare in a peculiar 
 manner; allowing it to bear almost the sense of 'since,' 'if,' 'being 
 that,' ' inasmuch as ' : — 
 
 Sowter will cry upon 't, for all this, though it be as rank as a fox. — Tw. N., ii. 5. 
 
 There 's a medlar for thee, eat it. — On what I hate I feed not. — Dost hate a medlar ? 
 — Ay, though it look like thee. — Timon, iv. 3. 
 
 I would abate her nothing ; though I profess myself her adorer, not her friend. — 
 Cym., i. 5. 
 
 And, in the following passage, with the sense of ' granting that,' 
 ' allowing that,' ' admitting that ' : — 
 
 For though the camomile, the more it is trodden on, the faster it grows, yet youth 
 the more it is wasted, the sooner it wears. — i H. IV., ii. 4. 
 
 There are certain words that were affectedly and hackedly used by 
 some of the fops, would-be fine gentlemen, or martial-mannered fellows, 
 of Shakespeare's time, that are recorded by him in a few passages of 
 his plays as thus used : — 
 
 A soldier is better accommodated than with a wife [See Affected Phraseology]. — 
 
 2 H. IV., iii. 2. 
 
PERSONAGES IN THE OLD MORALITIES, &-c. 605 
 
 Captain ! ' thou abominable damned cheater, art thou not ashamed to be called 
 captain ? An captains were of my mind, they would truncheon you out, for taking 
 their names upon you before you have earned them. You a captain ! you slave, for 
 what? . . Vie a captain ! Hang him, rogue ! . . . K captain! these villains will make 
 the word captain as odious . . therefore captains had need look to it. — 2 H. IV., ii. 4. 
 
 I might say element, but the word is over-worn. — Tw. N., iii. i. 
 
 You are idle, shallow things : I am not of your element. — Ibid., iii. 4. 
 
 Slice ! that 's my humour . . . good humours . . . nuthook's humour [See the 
 diction of Nym throughout this play]. — Merry W., i. i. 
 
 I have a humour to knock you . . . that 's the humour of it \See the diction of Nym 
 throughout this play also]. — H. V., ii. i. 
 
 As odious as the word occupy ; which was an excellent good word before it was ill 
 sorted. — 2 H. IV., ii. 4. 
 
 To occupy the argument no longer. — R. &• Jul., ii. 4. 
 
 Lord, sir ! . . . O Lord, sir .' [See the rest of the dialogue in this scene.] — 
 All's W., ii. 2. 
 
 1 will tell her, sir, that you do protest ; which, as I take it, is a gentlemanlike offer. 
 —R. &■ Jul., ii. 4. 
 
 The \z.&.y protests too much, methinks. — Hamlet, iii. 2. 
 
 My love to thee is sound, sans crack or flaw. — Sans, " sans'' I pray you. — 
 Love's L. L., v. 2. 
 
 Sans teeth, sans eyes, sans taste, sans everything. — As You L., ii. 7. 
 
 Come, come ; sans compliment, what news abroad ? — John, v. 6. 
 
 Taste your legs, sir : put them to motion. — My legs do better understand me, sir, 
 than I understand what you mean by bidding me taste my legs. — Tw. N., iii. i. 
 
 I pr'ythee vent thy folly somewhere else : thou know'st not me. — Vent my folly ! he 
 has heard that word of some great man, and now applies it to a fool : vent my 
 folly! . . . tell me what I shall vent to my lady: shall I vent to her that thou art 
 coming? — Tw. N., iv. i. 
 
 By welkin and her stars! — Merry W., i. 3. 
 
 By thy favour, sweet welkin, I must sigh in thy face. — Love's L. L., iii. i. 
 
 Who you are, and what you would, are out of my welkin. — Tw. N., iii. i. 
 
 PERSONAGES IN THE OLD MORALITIES, &c. 
 
 In the course of Shakespeare's dramas there are to be found allusions 
 to certain allegorical personages who figured in the old moralities, 
 mysteries, or miracle-plays that were formerly enacted for popular 
 entertainment : — 
 Which is the wiser here ? Justice or Iniquity ? — M.for M., ii. i. 
 Merely, thou art Death's Fool. — Ibid., iii. i. 
 
 Like to the old Vice . . . with dagger of lath. 
 
 In his rage and his wrath. 
 
 Cries, ah, ha! to the Devil: 
 
 Like a mad lad. 
 
 Pare thy nails, dad ; 
 
 Adieu, goodman drivel. — Tw. N.. iv. 2 (Song). 
 
 * The mode in which the title of " captain " was adopted by fellows having no claim 
 to bear it is satirised by a dramatist who wrote at a later date than Shakespeare ; for 
 Farquhar, in his comedy of the " Beaux' Stratagem," makes Gibbet the highwayman 
 observe : " Captain is a good travelling name, and so I take it ; it stops a great many 
 foolish inquiries that are generally made about gentlemen that travel ; it gives a man 
 an air of something, and makes the drawers obedient— and thus far I am a captain, and 
 no farther." — Act iii., sc. 2. 
 
6c6 THE SHAKESPEARE KEY. 
 
 That reverend Vice, that grey Iniquity, that father ruffian, that Vanity in years. — 
 
 1 H. IV., ii. 4. 
 
 The slave of life, and life Time's Fool. — Ibid., v. 4. 
 And now is this Vice's dagger become a squire. — 2 H. IV., iii. 2. 
 Thus, like the formal Vice, Iniquity, I moralise two meanings in one word. — 
 R. III., iii. I. 
 
 Let my lady apprehend no Fear : in all Cupid's pageant there is presented no 
 monster. — Tr. (&■ Cr., iii. 2. 
 
 Oh, I am Fortune's Fool! — R. &• jful., iii. i. 
 
 It out-herods Herod : pray you, avoid it. — Hamlet, iii. 2. 
 
 A Vice of kings ; a cut-purse of the empire. — Ibid., iii. 4. 
 
 And take Vanity, the puppet's part, against. — Lear, ii. 2. 
 
 I am even the natural Fool oi Fortune. — Ibid., iv. 6. 
 
 Thy angel becomes a Fear, as being o'erpower'd. — Ant. &• C, ii. 3. 
 Or tie my treasure up in silken bags, 
 To please the Fool and Death. — Per., iii. 2. 
 
 He also alludes to certain personages in the pageants and puppet- 
 shows of his time : — 
 
 When loud Rumour speaks? . . . upon my tongues continual slanders ride. . . . 
 Who but Rumour, Vfho but only I, make fearful musters? . . . Rumour is a pipe blown 
 by surmises. . . . Why is Rumour here ? . . . from Rumour's tongues they bring. — 
 
 2 H. IV. (Indue.) 
 
 I was then Sir Dagonet in Arthur's show. — Ibid., iii. 2. 
 
 And also to certain figurers in the morris-dances of the period : — 
 
 And for womanhood, Maid Marian may be the deputy's wife of the ward to thee. 
 
 Ibid., iii. 3. 
 
 The hobby-horse is forgot. — Love's L. L., iii. i. 
 
 With the hobby-horse, whose epitaph is, " For, oh, for, oh, the hobby-horse is forgot." 
 — Hamlet, iii. 2. 
 
 PHYSICAL INDICATIONS. 
 
 Our great dramatic poet gives occasional touches of physical indica- 
 tion, that forcibly heighten the effect of personal truth in actual 
 condition of the characters he draws. Some of these indications serve 
 to enhance prosaic and even humorous effect ; while others aid in 
 strengthening the impression of excitement or anguish. Ludicrously 
 well, for instance, are denoted the remnants of sea-sickness still hanging 
 about Stephano, together with the effects of his constant application to 
 the bottle containing the wine he has saved, by his mode of adjuring 
 Trinculo not to embrace him with too demonstrative a hug of con- 
 gratulation : — 
 
 Pr'ythee, do not turn me about; my stomach is not constant. — Temp., ii. 2. 
 
 Afterwards, in the same play, how pointedly is Prospero's disturbance 
 of mind marked, by the desire to calm his restlessness by motion : — 
 
 Sir, I am vex'd : 
 Bear with my weakness ; my old brain is troubled : 
 Be not disturb'd with my infirmity. 
 If you be pleas'd, retire into my cell. 
 And there repose : a turn or two I 'II walk. 
 To still my beating mind. — Ibid., iv. i. 
 
PHYSICAL INDICATIONS. 607 
 
 With what skill is augmented the impression of Constance's agony 
 of grief and incipient frenzy, when she is made to tear off her head-dress, 
 unable to bear the sense of heat upon her brain, with the words : — 
 
 / mil not ieep this form upon my head, 
 
 When there is such disorder in my wit. — jfohn, iii. i. 
 
 The approach of death is vividly painted to the imagination by such 
 a touch as the following : — 
 
 His eye is hollow, and he changes much. — 2 H. IV., iv. 4. 
 
 And the physical peculiarities attendant upon dying moments are 
 with marvellous truth enumerated in the following passage : — 
 
 'A made a finer end, and went away, an it had been any christom child ; 'a parted 
 even just between tivelve and one, even at the turning o' the tide : for after I saw him 
 fumble with the sheets, and play with flowers, and smile upon his fingers' ends, I knew 
 there was but one way ; for his nose was as sharp as a pen, and 'a babbled of green 
 fields. ... So (i bade me lay more clothes on his feet : I put my hand into the bed 
 and felt them, and they were cold as any stone ; then I felt to his knees, and so upward 
 and upward, and all was as cold as any stone. — H. V., ii. 3. 
 
 The contrast between the visible appearance presented by the corse 
 of one who has died a natural death and of one who has met with a 
 violent death is thus graphically depicted : — 
 
 See, how the blood is settled in his face. 
 
 Oft have I seen a timely-parted ghost. 
 
 Of ashy semblance, meagre, pale, and bloodless. 
 
 Being all descended to the heart ; 
 
 Who, in the conflict that it holds with death. 
 
 Attracts the same for aidance 'gainst the enemy ; 
 
 ^^■hich with the heart there cools, and ne'er returneth 
 
 To blush and beautify the cheek again. 
 
 But see, his face is black and full of blood; 
 
 His eye-balls farther out than when he liv d. 
 
 Staring full ghastly like a strangled man ; 
 
 His hair upreard, his nostrils stretched with struggling ; 
 
 His hands abroad display'd, as one that grasp'd 
 
 And tugg'dfor life, and was by strength subdued : 
 
 Look on the sheets, his hair, you see, is sticking; 
 
 His well-proportion' d beard made rough and rugged. 
 
 Like to the summer's corn by tempest lodg'd. 
 
 It cannot be but he was raurder'd here ; 
 
 The least of all these signs were probable. — 2 H. VI., iii. 2. 
 
 Again he portrays the near approach of death in striking corporeal 
 denotements : — 
 
 Do you note 
 How much her grace is alter'd on the sudden ? 
 How long her face is drawn ? How pale she looks. 
 And of an earthy cold ? Mark her eyes I . . . 
 Mine eyes grow dim. Farewell, my lord. — H. VIII., iv. 2. 
 
 Even so slight a sentence as the following serves strongly to indicate 
 the travelled and hungry condition of the banished exile, when he enters 
 the dwelling of the man who has so long been his foe : — 
 A goodly house : the feast smells well. — Coriol., iv. 5. 
 
 Lear's exclamation, affecting to pass off the choking sensations of his 
 grief and indignation as a. fit of. the disease called "the mother" or 
 
6o8 THE SHAKESPEARE KEY. 
 
 hysterica passio, aids powerfully in showing the emotions that surge 
 within him : — 
 
 O, how this mother swells up toward my heart ! 
 Hysterica passio— rfoitJB, thou climbing sorrow, 
 Thy element 's below I — Lear, ii. 4. 
 
 The following passing phrase, uttered by the worn-out old king, as 
 he yields to Kent's persuasions that he will lie down and take some 
 rest, helps to indicate the state of exhaustion into which he has fallen, 
 and to show how fatigue and want of food make themselves felt amid 
 the other miseries of that maddening night: — 
 
 Make no noise, make no noise ; draw the curtains : 
 
 So, so, so, we 'II go to supper i' the morning : so, so, so. — Ibid., iii. 4. 
 
 That his poor old frame has been severely shaken by exposure through- 
 out that tempestuous night, and that he shivers with more than dis- 
 tressful emotion as he pours forth his wandering words, is conveyed by 
 the brief phrase : — 
 
 They told me I was everything; 'tis a lie, — I am not ague-proof. — Ibid., iv. 6. 
 
 Again, the sensation of pressure and impeded circulation in the 
 extremities, indicated in the following few words, gives augmented 
 effect of suffering by the addition of physical distress to mental 
 distress : — 
 
 Now, now, now, now : 
 Pull off my boots: harder, harder : — so. — Ibid., iv. 6. 
 
 Then, again, one of the most intensely yet condensedly expressed 
 denotements of mingled bodily pain and consciousness of mental in- 
 firmity ever penned, is where the old king gives utterance to that 
 pathetic appeal, which actually makes us feel the sensation of wounded 
 writhing within the head that it implies : — 
 
 Use me well ; 
 You shall have ransom. Let me have a surgeon ; 
 / am cut to the brains. — Ibid., iv. 6. 
 
 In the following sentences, the poet not only shows us the poor old 
 eyesight worn by age and grief, but subtly indicates the dimness of 
 vision that precedes death : — 
 
 Who are you ? 
 Mine eyes are not 0' the best : I '11 tell you straight . . . 
 This is a dull sight. Are you not Kent ? — Ibid., v. 3. 
 
 And, lastly, the dramatist has doubly denoted the oppression of grief 
 and the difficult drawing of dying breath, in these few pathetically 
 simple words : — 
 
 Pray you, undo this button : thank you, sir. — Ibid., v. 3. 
 
 In the following brief phrase, Shakespeare presents to us a physical 
 condition arising from emotional disturbance — the perturbed ill-at-ease 
 body, the fret of limb, the longing for motion, that accompanies fever of 
 the mind : — 
 
 Oh, pardon me; Hwill do me good to walk. — 0th., iv. 3. 
 
 And soon after, a remark is made that serves to trace a period when 
 exterior calm succeeds to uncontrollable agitation. Having resolved to 
 
PLEONASMS. 609 
 
 put his supposed injurer to death, Othello is able to suppress those 
 starts of speech and that fierceness of glance which were irrepressible 
 while his soul was tossed with doubt and racked with suspense; and 
 therefore it is, that Emilia sa3's :^ 
 
 How goes it now? he looks gentler than he did. — 0th., iv. 3. 
 But subsequently, in the dread moment of fulfilling his intended 
 vengeance, the Moor's tortures of contending wrath and anguish are 
 brought forcibly forth by the outward tokens here introduced : — 
 
 And yet I fear you ; for you are fatal then, 
 
 When your eyes roll so 
 
 Alas I ahy gnaw you so your nether lip ? 
 
 Some bloody passion shakes your very frame. — Ihid., v. 2. 
 
 With what verity of naturalness is the pathos of the situation 
 heightened, where we behold heart-weary Imogen arriving at the cave 
 among the Welsh mountains, by the touches of bodily fatigue and pri- 
 vation that the poet of Nature has thrown in : — 
 
 I see a man's life is a tedious one : 
 
 / ha"e tir'd myself: and for two nights together 
 
 Have made the ground my bed. I should be sick 
 
 But that my resolution helps me. Milford, 
 
 When from the mountain-top Pisanio show'd thee, 
 
 Thou wast within a ken : O Jove ! I think 
 
 Foundations fly the wretched : such, I mean. 
 
 Where they should be reliev'd. . . . My dear lord ! 
 
 Thou art one of the false ones : now I think on thee. 
 
 My hunger 's gone ; but even before, I was 
 
 At point to sink for food. — Cym., iii. 6. 
 
 And the suddenly awakened desire for food upon the revival of jo}' in 
 one previously given up to affliction has been denoted by Shakespeare 
 in the following passage, where Pericles asks Lysimachus : — 
 
 Shall ae refresh us, sir, upon your shore. 
 And give you gold for such provision 
 As our intents will need ? — Per., v. 2. 
 
 PLEONASMS. 
 
 Shakespeare has a few passages affording instances of the super- 
 flously repeated or redundant words that were sometimes used in 
 a sentence by writers of his period ; and were then not considered 
 objectionable : — 
 
 0/ what kind should this cock come of? — As You L., ii. 7. 
 
 This wide and universal theatre 
 
 Presents more woeful pageants than the scene 
 
 Wherez'ji we play in. — Ibid., ii. 7. 
 
 Amity, too, of your brave father, whom, 
 
 Though bearing misery, I desire my life 
 
 Once more to look on him. — W. T., v. i. 
 
 Oh, how it yearn'd my heart, when I beheld. 
 
 In London streets, that coronation-day. 
 
 When Bolingbroke rode on roan Barbary ! — R. II., v. 5. 
 
6io THE SHAKESPEARE KEY. 
 
 Of Salisbury, who can report of him. — 2 H. VI., v. 3. 
 
 I come no more to make you laugh : things twui. 
 
 That bear a weighty and a serious brow, 
 
 Sad, high, and working, full of state and woe, 
 
 Such noble scenes as draw the eye to flow, 
 
 We Jiow present. — H. VIII. (Prologue). 
 All the whole time 
 
 I was my chamber's prisoner. — Ihld., i. i. 
 
 To whom as great a charge as little honour 
 
 He meant to lay upon. — Ibid., i. i. 
 
 And sleep in dull cold marble, where no mention 
 
 Of me more must be heard of. — Ibid., iii. 2. 
 Ill what enormity is Marcius poor in, that you 'two have not in abundance ? — 
 Coriol., ii. I. 
 That fair./oj- which love groan'd/or and would die. — R. &-jful., i. 5 (Chorus). 
 Now his friends are dead. 
 
 Doors, that were ne'er acquainted with their wards 
 
 Many a bounteous year, must be employ'd 
 
 Now to guard sure their master. — Timon, iii. 3. 
 
 And which, without desert, because thine eye 
 
 Presumes to reach, all thy whole heap must die. — Per., i. i. 
 
 The men of Tyrus on the head 
 
 Of Helicanus would set on 
 
 The crown of Tyre. — Ibid., iii. (Gower). 
 
 There are two passages in Shakespeare that wear the superficial 
 appearance of being pleonastic ; but in both passages the charge of 
 .pleonasm arises from insufficient knowledge of the mode in which 
 Shakespeare uses some words : — 
 
 These dangerous unsafe lunes i' the king, beshrew them ! — W. T., ii. 2. 
 
 Here, " dangerous " is used in the sense of ' severe,' ' sharp,' ' keen,' 
 ' menacing,' more than in its directer sense of ' perilous.' 
 
 Why such unplausive eyes are bent, why turiid on him. — Tr. &■ Cr., iii. 3. 
 
 To this Steevens objects, proposing to alter the passage, saying : 
 " If the eyes were hent on him, they were tiiriid on him. This 
 tautology, therefore, together with the redundancy of the line, plainly 
 show that we ought to read, with Sir Thomas Hanmer, 'Why such un- 
 plausive eyes are bent on him.' " In the first place, Shakespeare uses 
 the word " bent " (in reference to eyes) to express a frown, a stern 
 look, an angry glance; therefore, in the above line, "bent" appears to 
 us to express ' cast frowningly,' rather than in the sense of ' inclined' ; 
 which does away with the alleged " tautology " : and, in the second 
 place, " the redundancy of the line " is merely consistent with many 
 lines in Shakespeare, containing more than the usual strict ten feet. 
 
 We find several instances of Shakespeare's using a second epithet, 
 or sometimes a second verb, bearing almost similar meaning with the 
 first ; which, at the time he wrote, was not considered a fault of 
 pleonasm, but as giving emphasis and additional force to the phrase: — 
 
 The inaudible and noiseless foot of Time. — All's W., v. 3. 
 
 That old and antique song we heard last night. — Tw. N., ii. 4. 
 
 Not all the water in the rough rude sea. — R. II., iii. 2. 
 
 Did he suspire, that light and weightless down perforce must move. — 2 H. IV., iv. 4. 
 
 To buy a slobbery and a dirty farm. — H. V., iii. 5. 
 
PLEONASMS. 6" 
 
 Or given my heart a winking, mute and dumb. — Hamlet, ii. 2. 
 
 And in my hearing be you mute and dumb. — Liicrece, Stanza i6i. 
 
 But doth rebate and blunt his natural edge. — M.for M., i. 5. 
 
 To prate and talk for life and honour. — W. T., iii. 2. 
 
 To plot, contrive, or complot any ill 'gainst us. — i?. /J., i. 3. 
 
 He has also expressions that may be accused of being pleonastic ; 
 but which, to our minds, bear a certain energy and spirit with fitness of 
 characteristic context in them that give them poetic propriety : — 
 
 It was the swift celerity of his death, 
 
 Which I did think with slower foot came on, 
 
 That brain'd my purpose. — M.for M.,v. i. 
 
 Forwearied in this action of swift speed. — jfohn, ii. i. 
 
 Doth Arthur live ? oh, haste thee to the peers. 
 
 Throw this report on their incensed rage. 
 
 And make them tame to their obedience ! . . . 
 
 Oh", answer not ; but to my closet bring 
 
 The angry lords with all expedient* haste ! — John, iv. 2. 
 
 Whereas, in the " First Part of King Henry VI." there are pleonasms 
 SO' needless and so wanting in vigour, that they have been among the 
 many points of style in that play which have always formed proofs to 
 us of its being for the most part not his composition. Compare the 
 following vapid tautologies of diction with those we have above cited : — 
 
 In private will I talk with thee apart. — i H. VI., i. 2. 
 Or will you blame and lay the fault on me ? — Ibid., ii. i. 
 To gather our soldiers, scatter d and dispers'd. — Ibid., ii. i. 
 I see report \s fabulous ^nd false. — Ibid., ii. 3. 
 Where is the best and safest passage in ? — Ibid., iii. 2. 
 Are glad and fain by flight to save themselves. — -Ibid., iii. 2. 
 In France, amongst a. fickle wavering nation. — Ibid., iv. i. 
 Than I am able to instruct or teach. — Ibid., iv. i. 
 Your angry choler on your enemies. — Ibid., iv. i. 
 Than yet can be imagined or supposed. — Ibid., iv. i. 
 Of an invincible unconquer'd spirit. — Ibid., iv. 2. 
 This speedy and quick appearance argues proof — Ibid., v. 3. 
 And there is a tame as well as pleonastic expression in another plaj' 
 which seems to us to contain internal proof that it is not wholly written 
 by Shakespeare : — 
 
 My mercy dried their tsater^fiowing tears. — 3 H. IV., iv. 8. 
 There are a few idiomatic phrases, that are pleonastic in their form, 
 which Shakespeare uses : — 
 
 How and which way I may bestow myself. — Two G. of V., iii. i. 
 
 I '11 take the sacrament on 't, how and which way you will. — All's W., iv. 3. 
 
 If I know how or which way to order these affairs. — R. II., ii. 2. 
 
 Then how or which way should they first break in ? — 
 
 Question, my lords, no farther of the case. 
 
 How or which way. — i H. VI., ii. i. 
 
 Signer Antonio, many a time and oft. 
 
 In the Rialto, you have rated me. — Mer. of V., i. 3. 
 
 * " Expedient " is generally, as here, used by Shakespeare as an equivalent for 
 ' expeditious.' 
 
 2 R 2 
 
6i2 THE SHAKESPEARE KEY. 
 
 And many a time and oft myself have heard. — 2 H. VI., ii. i. 
 Many a time and often I have dined with him. — Timon, iii. i. 
 Many a time and oft have you climb'd up to walls. — yul. C, i. i. 
 Time and the hour runs through the roughest day. — Macb., i. 3. 
 
 And there is a pleonastic legal phrase which Shakespeare has 
 used : — 
 
 There might you have beheld one joy crown another, so, and in such manner, that it 
 seemed sorrow wept to take leave of them. — W. T., v. 2. 
 
 POETIC BEAUTIES. 
 
 Such a heading as the present, when treating of a writer like Shake- 
 speare, would seem to involve countless citations ; but we merely pro- 
 pose to enumerate a few of his passages containing poetic beauties of a 
 peculiar kind — where effects of actual colour or sound are presented to 
 the senses by his artistic pen. Some of his picturesquely graphic pre- 
 sentments, marking locality, we have enumerated under our heading 
 entitled Dramatic Laws and Art ; but here we bring together those 
 more particularly conveying hues and tones. In the following address 
 to Iris, for instance, how the poet fills our eyes with resplendent 
 colouring of sky and earth : — 
 
 Hail, many-colour'd messenger, that ne'er 
 
 Dost disobey the wife of Jupiter : 
 
 Who, with thy saffron wings, upon my flowers 
 
 Diffusest honey-drops, refreshing showers ; 
 
 And with each end of thy blue bow dost crown 
 
 My bosky acres and my unshrubb'd down, 
 
 Rich scarf to my proud earth ; why hath thy queen 
 
 Summon'd me hither, to this short grass'd green ? — Temp., iv. i. 
 
 While, in the few following words, he puts before our sight the very 
 impression of that rainbow-tinted moisture which swells into an eye 
 ready to brim over with tears, and makes it look rounder and larger 
 through its medium : — 
 
 What 's the matter. 
 That this distemper'd messenger of wet. 
 The many-coloured Iris, rounds thine eye ? — AlVs W., i. 3. 
 
 And how gorgeously he floods the following lines with blended rosy, 
 golden, and sea-green hues, where Oberon, the fairy-king, sa3's : — 
 
 I with the morning's love have oft made sport; 
 
 And, like a forester, the groves may tread. 
 
 Even till the eastern gate, all fiery-red, 
 
 Opening on Neptune with fair blessed beams, 
 
 Turns into yellow gold his salt- green streams. — Mid. N. D., iii. 2. 
 
 And with what power of condensed expression has he depicted vast 
 spread of imagined colouring in this brief phrase : — 
 
 Will all great Neptune's ocean wash this blood 
 Clean from my hand ? No ; this my hand will rather 
 The multitudinous seas incamardine. 
 Making the green — one red. — Macb., ii, 2. 
 
POETIC BEAUTIES. 613 
 
 In the following passage, the tumultuous raging of the sea, the 
 frantic cries of the drowning wretches, the noise and uproar of the 
 scene are brought to our very ears by Miranda's words : — 
 
 If by your art, my dearest father, you have 
 
 Put the wild waters in this roar, allay them. 
 
 The sky, it seems, would pour down stinking pitch, 
 
 But that the sea, mounting to the welkin's cheek, 
 
 Dashes the fire out. Oh, I have suifer'd 
 
 With those that I saw suffer ! a brave vessel. 
 
 Who had, no doubt, some noble creatures in her, 
 
 Dash'd all to pieces. Oh, the cry did knock 
 
 Against my very heart ! — Temp., i. 2. 
 
 The beauty and the fitful play of the magic harmony sent to lure 
 Ferdinand onward to the spot where he will meet with Miranda, is 
 made to vibrate upon our senses as well as upon those of the speaker, 
 in this passage : — 
 
 Where should this music be ? I' th' air or th' earth ? 
 It sounds no more ; and sure, it waits upon 
 Some god o' th' island. Sitting on a bank. 
 Weeping again the king my father's wreck. 
 This music crept by me upon the waters. 
 Allaying both their fury, and my passion. 
 With its sweet air: thence I have follow'd it. 
 Or it hath drawn me rather : but 'tis gone. 
 No, it begins again. — Ibid., i. 2. 
 
 The strangeness and loveliness of the sounds that float about the en- 
 chanted island are brought full upon our fancied hearing, where even 
 the savage Caliban is made to express the soothing effect they have upon 
 his senses : — 
 
 The isle is full of noises. 
 
 Sounds, and sweet airs, that give delight, and hurt not. 
 
 Sometimes a thousand twangling instruments 
 
 Will hum about mine ears ; and sometime voices, 
 
 That, if I then had wak'd after long sleep. 
 
 Will make me sleep again. — Ibid., iii. 2. 
 
 And with what grand sonorous tone is the murmur of universal 
 nature in the ear of a conscience-stricken soul described, where King 
 Alonso exclaims : — 
 
 Methought, the billows spoke, and told me of it. 
 
 The winds did sing it to me ; and the thunder. 
 
 That deep and dreadful organ-pipe, pronounc'd 
 
 The name of Prosper ; it did base my trespass. — Ibid., iii. 3. 
 
 The following passage not only occasions us to hear the spirit- 
 stirring sounds of the chase, together with that peculiar effect of 
 "bells" produced by hounds baying in chorus, but it brings to our 
 appreciation that special and almost indescribable charm that certain 
 thrilling " discord " amid a monotony of melodious sound possesses for 
 the educated musical ear : — 
 
 My love shall hear the music of my hounds. . . . 
 
 We will, fair queen, up to the mountain's top, 
 
 And mark the musical confusion 
 
 Of hounds and echo in conjunction. — 
 
 I was with Hercules and Cadmus once. 
 
 When in a wood of Crete they bay'd the bear 
 
6i4 THE SHAKESPEakc abj-. 
 
 With hounds of Sparta : never did I hear 
 
 Such gallant chiding ; for, besides the groves, 
 
 The skies, the fountains, every region near 
 
 Seem'd all one mutual cry : I never heard 
 
 So musical a discord, such sweet thunder. — 
 
 My hounds are bred out of the Spartan kind. 
 
 So flevif'd, so sanded ; and their heads are hung 
 
 With ears that sweep away the morning dew ; 
 
 Crook-kneed, and dew-lapp'd, like Thessalian bulls ; 
 
 Slow in pursuit, but match'd in mouth like bells. 
 
 Each under each. A cry more tuneable 
 
 Was never hoUa'd to, nor cheer'd with horn. 
 
 In Crete, in Sparta, nor in Thessaly. — Mid. X. D., iv. i. 
 
 To those who have felt the full voluptuous effect of a melodious 
 cadence in music, the following brief but most characteristic expression 
 — a "dying fall" — will recall the exact kind of subsiding notes that 
 drop off into silence : — 
 
 That strain again I it had a dying fall : 
 Oh, it came o'er my ear like the sweet south. 
 That breathes upon a bank of violets, 
 Stealing and giving odour ! — Tin. N., i. i. 
 
 And, in the next passage, how the words " move still, still so," give 
 the alternate rise and fall, the to-and-fro undulation of the water, the 
 easy swing of each wave, in most harmonious flow of combined move- 
 ment and sound : — 
 
 When you do dance, I wish you 
 A wave o' the sea, that you might ever do 
 Nothing but that ; move still, still so. 
 And own no other function. — W. T., iv. 3. 
 
 The following passages afford instances — among numberless that 
 might be cited — of Shakespeare's exquisite ear for poetic cadence at the 
 close of a line or sentence : — 
 
 For where thou art, there is the world itself. 
 
 With every several pleasure in the world ; 
 
 And where thou art not, desolation. — 2 H. VI., iii. 2. 
 
 Nay, forsooth, my friends, 
 They that must weigh out my afflictions, 
 They that my trust must grow to, live not here ; 
 They are, as all my other comforts. /nr hence. 
 In mine own country, lords. — H. VIII., iii. i. 
 Shipwreck'd upon a kingdom, where no pity. 
 No friends, no hope ; no kindred weep for me ; 
 Almost no grave allow'd me ; like the lily, 
 That once was mistress of the field and flourish'd, 
 I 'II hang my head and perish. — Ibid., iii. i. 
 I have touch'd the highest point of all my greatness ; 
 And, from that full meridian of my glory, 
 I haste now to my setting : I shall fall 
 Like a bright exhalation in the evening, 
 And no man see me more. — Ibid., iii. 2. 
 And when he falls, he falls like Lucifer, 
 Never to hope again. — Ibid., iii. 2. 
 And oh ! you mortal engines, whose rude throats 
 The immortal Jove's dread clamours counterfeit. 
 Farewell I Othello's occupation 's gone ! — 0th., iii. 3. 
 
POINTS LEFT FOR IMPROVISATION. 615 
 
 POINTS LEFT FOR IMPROVISATION. 
 
 It was not unfrequently a practice with the dramatists of Shakespeare's 
 time, to leave certain points in their plays for filling up as occasion 
 served, or as the ingenuity of the actor entrusted with the part in which 
 this point occurred might suggest. This was often the case, where a 
 song had to be introduced ; the choice of which was left to the singer 
 or to the theatrical manager : and it was sometimes the case, in the 
 course of the clown's part ; some of the scraps of quoted ballad, or 
 impromptu levity, which he had to utter, being left to the memory or 
 extempore wit of the performer to supply. Occasionally, the popular 
 favourites who enacted the clowns, chose to indulge in what, in stage 
 technicality, is called " gag," by introducing a quantity of extraneous 
 jest or ribaldry of their own invention, irrespective of any such intro- 
 duction being signified by the author of the play. It is to this practice 
 that Hamlet alludes, where he says : 
 
 And let those that play your clowns speak no more than is set down for them : for 
 there be of them that will themselves laugh, to set on some quantity of barren 
 spectators to laugh too ; though in the meantime, some necessary question of the play 
 be then to be considered : that 's villanous, and shows a most pitiful "ambition in the fool 
 that uses it. — Hamlet, iii. 2. 
 
 Into Hamlet's mouth, also, Shakespeare has put allusion to the 
 legitimately written drama, and to those plays where the actor is at 
 liberty to substitute his own words. There were formerly extemporal 
 dramas, in imitation of the Italian commedie all' improviso, where the 
 performers had to invent the dialogue for themselves : — 
 
 The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral- 
 comical, historical - pastoral, tragical - historical, tragical -comical -historical -pastoral, 
 scene individable, or poem unlimited : Seneca cannot be too heavy, nor Plautus too 
 light. For the law of writ and the liberty, these are the only men. — Ibid., ii. 2. 
 
 The following passages of stage direction (which we here give as 
 printed in the Folio of 1623) afford a specimen of Shakespeare's 
 occasionally permitting a point of dialogue to be supplied by the 
 performer : — 
 
 Mortimer. Good father, tell her that she and my aunt Percy 
 Shall follow in your conduct speedily. 
 
 [Glendower speaks to her in Welsh, and she answers him in the same,'] 
 
 Glendower. She 's desperate here ; a peevish, self-will'd harlotry. 
 One that no persuasion can do good upon. [The Lady speakes in Welsh. 
 
 Mortimer. I understand thy looks : that pretty Welsh 
 Which thou pour'st down from these swelling heavens 
 I am too perfect in ; and, but for shame, 
 
 In such a parley should I answer thee. [The Lady againe in Welsh. 
 
 I understand thy kisses, and thou mine. 
 And that 's a feeling disputation : 
 But I will never be a truant, love. 
 Till I have learn'd thy language ; for thy tongue 
 Makes Welsh as sweet as ditties highly penn'd. 
 Sung by a fair queen in a summer's bower. 
 With ravishing division to her lute. 
 
 Glendower. Nay, if you melt, then will she run mad. 
 
 [The Lady speakes againe in Welsh], — i H. IV., iii. i. 
 
6i6 THE SHAKESPEARE KEY. 
 
 And the following passages of stage direction (which we also give as 
 printed in the Folio of 1.623) show that Shakespeare occasionally adopted 
 the then practice of sometimes leaving an introduced song or piece of 
 music to the selection of the performer or management: — 
 
 Hotspur. Peace ! she sings. — [Heere the Lady sings a Welsh Song.] — 
 I H. IV., iii. i. 
 
 Sir Andrew. Good, i' faith. Come, begin.— [Catch sung.] — Tw. N., ii. 3. 
 
 Brutus. It was well done ; and thou shalt sleep again ; 
 I will not hold thee long; if I do live, 
 I will be good to thee. — [Miisicke, and a Song.] — jful. C, iv. 3. 
 
 In the following passage there is a. stage direction of a similar kind, 
 which we here give as printed in the 1664 Folio edition of " Pericles " ; 
 since that play was not included in the 1623 Folio edition of Shake- 
 speare's plays : — 
 
 Lysimachus. Come, let us leave her ; 
 
 And the gods make her prosperous. — \The Song.] — Per., v. i. 
 
 In the following passage there is a word which has been supposed to 
 have been the indication of a song, or the commencement of a song, 
 usually sung by the boy who performed Moth ; but we are inclined to 
 think that " Concolinel " forms a few syllables strung together to 
 express warbling, or humming a tune, as we now use 'la li ra, la li ra,' 
 &c. Armado's comment — "Sweet air! " — seems to us to confirm our 
 idea : — 
 
 Armado. Warble, child ; make passionate my sense of hearing. 
 
 Moth (Singing). Concolinel. 
 
 Armado. Sweet air ! — Love's L. L., iii. i. 
 
 POWER IN WRITING SILENCE; AND PERFECT IMPRES- 
 SION THROUGH IMPERFECT EXPRESSION. 
 
 Shakespeare, among his other vast gifts and resources in dramatic 
 art, has shown an admirable power of indicating silence in certain of 
 his characters, by the comment upon their abstinence from speech 
 which he has put into the mouths of other characters. When Hermione 
 descends from the pedestal where she has impersonated a statue of 
 herself, she utters no word. Not only is her heart suffocating with 
 unutterable emotions in this moment of restoration to life and love after 
 a sixteen years' self-imposed seclusion and silence, but she is exactly 
 the woman to give no other than mute token of reconciliation when she 
 throws herself into her husband's arms, and forgives him the injustice 
 he once did her. Her reticence is thus marked, by the comment of 
 others : — 
 
 Leontes [Embracing her). Oh, she's warm ! 
 If this be magic, let it be an art 
 Lawful as eating. 
 
 Polixenes. She embraces him. 
 
 Camilla. She hangs about his neck. — W. T., v. 3. 
 
POWER IN WRITING SILENCE; &c. 617 
 
 Perdita's reticent dignity of soul (inherited from her mother) as well 
 as her innate love of truth and candid nature are well indicated by her 
 maintaining silence while Polixenes rebukes his son and reproaches 
 her, and again while Leontes receives her and Florizel, who relates a 
 feigned history of themselves : — 
 
 Mark your divorce, young sir, &c. — W. T., iv. 3. 
 She came from Libya, &c. — Ibid., v. 1. 
 
 The habitual quietude and soft stillness of Virgilia, her silent weeping 
 and suppressed excitement, when she meets her husband on his return 
 from the Volscian war, are excellently denoted by her husband's words 
 of greeting : — • 
 
 Coriolanus. My gracious silence, hail ! 
 
 Wouldst thou have laugh'd had I come coiEn'd home, 
 That weep'st to see me triumph ? Ah, my dear. 
 Such eyes the widows in Corioli wear. 
 And mothers that lack sons. — CorioL, ii. i. 
 
 Later on, the same characteristic silent distress is indicated on her 
 part ; where, after the first irrepressible burst of anguish in the 
 exclamation, "Oh, heavens, oh, heavens!" she remains speechless 
 until the close of the scene where her husband is escorted by his friends 
 to the gates of Rome, whence he is banished ; and she gives only silent 
 response to his repeated adieus : — 
 
 Farewell, my wife, — my mother : . . . 
 Come', my sweet wife, my dearest mother, and 
 lly friends of noble touch ; when I am forth, 
 Bid me farewell, and smile. — Ibid., iv. i. 
 
 Again, her quiet grieving is indicated by the contrast of Volumnia's 
 fierce reproaches to the tribunes ; and by the characteristic rebuke 
 given by the Roman matron to her meek daughter-in-law : — 
 
 Come, let 's go : 
 Leave this faint puling, and lament as I do. 
 In anger, Juno-like. Come, come, come. — Ibid., iv. 2. 
 
 Yet again, Virgilia's habitual silence, and Volumnia's as habitual 
 torrent of words, are most artistically conveyed by the following in- 
 junction, given without waiting for the speech it enjoins: — 
 
 Daughter, speak you ; 
 He cares not for your weeping. — Ibid., v. 3. 
 
 In the following passage Macduff's silent anguish is forcibly depicted 
 by making Malcolm first exclaim at the horror of Rosse's tidings, and 
 then turn to the bereaved husband and father, who is unable to utter a 
 S3'llable on the first shock of hearing them : — 
 
 Malcolm. Merciful Heaven ! 
 
 What, man ! ne'er pull your hat upon your brow ; 
 Give sorrow words : the grief that does not speak 
 Whispers the o'er-fraught heart, and bids it break. — Macb., iv. 3. 
 
 For the mode in which our dramatist ingeniously draws speechless- 
 ness, we refer our readers to the examination of four of his characters of 
 few words : — 
 
6i8 THE SHAKESPEARE KEY. 
 
 Dull. — Love's L. L., i. 2; iv. 2; and v. i. 
 
 James Gurney." — yohn, i. i. 
 
 Francis. — i H. IV., ii. 4. 
 
 Silence. — 2 H. IV., iii. 2, and v. 3. 
 
 Shakespeare has a most potent art in conveying perfect impression of 
 a speaker's meaning, through imperfectly expressed speech. Occasion- 
 ally this imperfect expression conveys the effect of emotional agitation 
 in the speaker ; sometimes a threat, an inuendo, or a half-uttered in- 
 sinuation, that the speaker wishes his interlocutor to understand 
 without explicit utterance ; and sometimes, incapacity on the part of 
 the speaker to put into words all that is meant [See Unfinished 
 Sentences] : — 
 
 If you prove a mutineer, the next tree ! The poor monster's my subject, and he 
 shall not suffer indignity. — Temp., iii. 2. 
 
 Would I were dead, but that, methinks, already — 
 
 What was he, that did make it ? — W. T., v. 3. 
 
 I had a thing to say, — but let it go . 
 
 I would into thy bosom pour my thoughts : 
 
 But, ah ! I will not: yet I love thee well. . . . 
 
 Good Hubert, Hubert, Hubert, throw thine eye 
 
 On yond' young boy : I '11 tell thee what, my friend. 
 
 He is a very serpent in my way ; 
 
 And wheresoe'er this foot of mine doth tread. 
 
 He lies before me : dost thou understand me ? 
 
 Thou art his keeper. — yohn, iii. 3. 
 I have known thee these twenty-nine years, come peascod-time ; but an honester and 
 truer-hearted man, — well, fare thee well. — 2 H. IV., ii. 4. 
 
 Wished, my lord! the gods grant, — Oh, my lord! — What should they grant? What 
 makes this pretty abruption ? — Tr. &• Cr., iii. 2. 
 An 'twere to give again, — but 'tis no matter. — Coriol., ii. 3. 
 
 He had, sir, a kind of face, methought, — I cannot tell how to term it. — He had so ; 
 looking as it were, — Would I were hanged, but I thought there was more in him than 
 I could think. — Ibid., iv. 5. 
 I have it, and soundly too : — your houses ! — R. &• yul., iii. i. 
 
 Will 't hold ? will 't hold ?— 
 
 It does ; but time will — and so — 
 
 I do conceive. — Timon, iii. 6. 
 
 If you shall cleave to my consent, — when 'tis. 
 
 It shall make honour for you. — Macb., ii. i. 
 
 Or by pronouncing of some doubtful phrase. 
 
 As, "Well, well, we know " ; or, "We could, an if we would"; 
 
 Or, " If we list to speak" ; or, " There be, an if they might" ; 
 
 Or such ambiguous giving out, to note 
 
 That you know aught of me. — Hamlet, i. 5. 
 
 Approach, thou beacon to this under globe. 
 
 That by thy comfortable beams I may 
 
 Peruse this letter ! Nothing, almost, sees miracles 
 
 But misery : I know 'tis from Cordelia, 
 
 Who hath most fortunately been inform'd 
 
 Of my obscured course ; and shall find time 
 
 From this enormous state, — seeking to give 
 
 * Of whom Coleridge, in one of his " Table-Talks," says : " For an instance of 
 Shakespeare's powers in minimis, I generally quote James Gurney's character in " King 
 John.'' How individual and comical he is with the four words allowed to his dramatic 
 life I " 
 
PRONUNCIATION. 619 
 
 Losses their remedies, — All weary and o'er-watched, 
 Take vantage, heavy eyes, not to behold 
 This shameful lodging. — Lear, ii. 2. 
 
 The imperfect expression, the confused and inconsecutive phraseology, 
 the disjointed sentences, in the above speech, appear to us to give per- 
 fectly the impression of the speaker's reflections upon the probable 
 contents of the letter which he defers reading until the sun shall have 
 risen, and his yielding to the sleep that meanwhile creeps over him: — 
 
 Why should she write to Edmund ? Might not you 
 
 Transport her purposes by word ? Belike, 
 
 Something — I know not what — I '11 love thee much ; 
 
 Let me unseal the letter. — 
 
 Madam, I had rather — 
 
 I know your lady does not love her husband. — Ibid., iv. 5. 
 
 And so I am, I am . . . No cause, no cause. — Ibid., iv. 7. 
 
 Nothing, my lord : or if^I know not what. — 0th., iii. 3. 
 Handkerchief, — confessions, — handkerchief! to confess, and be hanged for his 
 labour ; — first, to be hanged, and then to confess : I tremble at it. Nature would not 
 invest herself in such shadowing passion, without some instruction. It is not words 
 that shake me thus : — Pish '. — Noses, ears, and lips. Is it possible ? Confess I — 
 Handkerchief! — devil! — Ibid., iv. i. 
 
 And she 's obedient, as you say, — obedient, 
 
 Very obedient. Proceed you in your tears. — 
 
 Concerning this, sir, — O well-painted passion ! — 
 
 I am commanded home. — Get you away ; 
 
 I '11 send for you anon.^Sir, I obey the mandate. 
 
 And will return to Venice. — Hence ! avaunt I — Ibid., iv. i. 
 
 O Desdemona ! — away ! away I away ! — Ibid., iv. 2. 
 
 Sir, you and I must part, — but that 's not it ; 
 
 Sir, you and I have lov'd, — but there's not it ; 
 
 That you know well : something it is I would, — 
 
 0, my oblivion is a very Antony, 
 
 And I am all forgotten. — Ant. &• C, i. 3. 
 My noble brother ! . . . Sir, look well to my, husband's house ; and — . . I "11 
 tell you in your ear. — Ibid., iii. 2. 
 
 Then, Antony, — but now, — ^well, on. — Ibid., iv. 4. 
 
 The augurers 
 
 Say, they know not, — they cannot tell ; — look grimly, 
 
 And dare not speak their knowledge. — Ibid., iv. 10. 
 
 There are no more such masters : I may wander 
 
 From east to Occident, cry out for service. 
 
 Try many, all good, serve truly, never 
 
 Find such another master. — Cym., iv. 2. 
 
 Why did you throw your wedded lady from you ? 
 
 Think that you are upon a rock ; and now 
 
 Throw me again. — 
 
 Hang there like fruit, my soul. 
 
 Till the tree die \~Ibid., v. 5. 
 
 Voice and favour ! — 
 
 You are, you are — oh, royal Pericles ! — Per., v. 3. 
 
 PRONUNCIATION. 
 
 There are some peculiarities in the mode of occasionally pronouncing 
 some words used by Shakespeare that require bearing in mind when 
 judging certain • passages of his plays ; either to properly comprehend 
 
620 THE SHAKESPEARE KEY. 
 
 the metre of the lines where such words occur, or to appreciate the 
 quibble involved in a similar sound : — 
 
 Fill all thy bones with aches [pronounced as a dissyllable] , make thee roar. — Temp., i. 2. 
 
 " Aches " [pronounced as dissyllable] contract and starve your supple joints ! — 
 Timon, i. i. 
 
 If you love an addle egg [similar sound] as well as you love an idle head, you would 
 eat chickens i' the shell. — Tr. &• Cr., i. 2. 
 
 Al'ce [' Alice'] madam, or Joan madam ? — Tarn, of S., Indue. 2. 
 
 And in such alligant [' elegant ' or, perhaps, ' eloquent.' See Corruptions] terms. — 
 ilerry W., ii. 2. 
 
 Their bands i' the vaward are the Antiatcs [as trisyllable]. — CorioL, i. 6. 
 
 Be called thieves of the day's beauty [pronounced as ' booty']. — i H. IV., i. 2. 
 
 La force de ton bras [pronouncing final s: similar sound]. — Brass, cur ! — H. V., iv. 4. 
 
 And all the ceremony [as trisyllable] of this compact. — Tvj. N., v. i. 
 
 She never had so sweet a changeling [as trisyllable]. — Mid. N. D., ii. i. 
 
 These are the parents to these children [as trisyllable]. — Com. of E., v. i. 
 
 But civil [ pronounced as ' Seville'], count, — civil us an orange. — M. Ado, ii. i. 
 
 Be valu'd 'gainst your wife's commandment [as quadrisyllable]. — Mer. of V., iv. i. 
 
 And what says my conceal'd [similar sound] lady to our cancell'd love ? — 
 R. &• Jul., iii. 3. 
 
 Sir, the contempts [' contents '] thereof are as touching me. — Love's L, L., i. i. 
 
 Whereas the contrary [as quadrisyllable] bringeth bliss. — i. H. VI., v. 5. 
 
 Her amber hairs for foul have amber coted [' quoted ' was sometimes thus pronounced. 
 See Peculiar Use of Words]. — Love's L. L., iv. 3. 
 
 And that hath dazzled [as trisyllable] my reason 's light. — Two G. of V., ii. 4. 
 
 I could too v/ell feel his blows, and withal so doubtfully [used punningly in refer- 
 ence to two words of somewhat similar sound — ' doughtily ' and ' redoubtably '], that 
 I could scarce understand them. — Com. of E., ii. i. 
 
 Ducdame [as trisyllable], ducdame, ducdame. — As You L., ii. 5 [Song). 
 
 Fire [as dissyllable] that 's closest kept burns most of all. — Two G. of V., i. 2. 
 
 Why, what a peevish /oo/ [similar sound] was that of Crete, that taught his son the 
 office of a. fowl ! — 3 H. VI., v. 6. 
 
 I am here with thee and thy goats [similar sound] as the most capricious poet, 
 honest Ovid, was among the Goths. — As You L., iii. 3. 
 
 She was the sweet-marjoram of the salad, or rather, the herb of grace [similar 
 sound]. — They are not salad-herbs, you knave ; they are nose-herbs. — ^I am no great 
 Nebuchadnezzar, sir, I have not much skill in grass. — All's W., iv. 5. 
 
 Edward and Richard, like a brace of greyhounds [as monosyllable ; having some- 
 times formerly been written ' grewnds ']. — 3 H. VI., ii. 5. 
 
 By my troth, I am exceeding ill ; heigh-ho ! — 
 
 For a hawk, a horse, or a husband ? — 
 
 For the letter that begins them all, H [the word ' ache ' was formerly pronounced 
 aitch']. — M. Ado, iii. 4. 
 
 These oracles are hardly [as trisyllable] attain'd. — 2 H. VI., i. 4. 
 
 These ears of mine, thou know'st, did hear [as dissyllable] thee. — Com. ofE., v. i. 
 
 Brought hither Henry Hereford [as dissyllable], thy bold son. — R. II., i. i. 
 
 A ship you sent me to, to hire [as dissyllable] waftage. — Com. of E., iv. i. 
 
 Sign'd in thy spoil, and crimson'd in thy lethe [as monosyllable]. — yul. C, iii. i. 
 
 That my master is become a notable lover [similar sound] ? — I never knew him 
 otherwise. — Than how? — A notable lubber. — Two G. of V., ii. 5. 
 
 That now is lying in Marseilles' [as trisyllable] road. — Tarn, of S., ii. i. 
 
 His grace is at Marseilles [as trisyllable] ; to which place. — All's W., iv. 4. 
 
 I deny your major [used punningly in reference to its similarity of sound with 
 ' mayor '] : if you will deny the sheriff, so. — i H. IV., ii. 4. 
 
PRONUNCIATION. 621 
 
 I am now, sir, muddied in Fortune's mood [ ' mud ' was formerly pronounced 
 somewhat like "mood"], and smell somewhat strong of her strong displeasure. — 
 All's W.. V. 2. 
 
 It is much that the Moor [similar sound] should be more than reason. — Mcr. 
 of v., iii. 5. 
 
 Speak it in French, king ; say, pardonnez moy [pronounced in Shakespeare's time so 
 as to allow of its rhyming with " destroy "]. — 
 
 Dost thou teach pardon pardon to destroy? — R- II., v. 3. 
 
 Ayez pitie de moy [pronounced as above explained]. — Moy [supposed to be a con- 
 traction of ' moidore ' ; r. Portuguese coin, worth about twenty-seven shillings] shall nci 
 serve ; I will have forty mays. — H. V., iv. 4. 
 
 Lay me stark nak'd [as monosyllable], and let the water-flies. — Ant. &• C, v. 2. 
 
 There's not a note of mine that's worth the noting [similar sound]. — Why, these are 
 very crotchets that he speaks ; note, notes, forsooth, and nothing I — .1/. Ado, ii. 3. 
 
 No hearing, no feeling, but my sir's song, and admiring the nothing [pronounced as 
 above with a long 6; affording a pun with ' noting '] of it. — W. T., iv. 3. 
 
 By the compulsion of their ordnance [as trisyllable]. — yohn, ii. i. 
 
 In second accent of his ordnance [as trisyllable]. — H. V., ii. 4. 
 
 But to parfcct [' perfect'] one man in one poor man. — Love's L. L., v. 2. 
 
 Good-morrow master ^erion ['parson']. — 'M.nsier person — qaasi pers-on ['pierce 
 was sometimes formerly pronounced ' perse,' and ' one ' like ' on ']. And if one should 
 be pierced, which is the one ? — Ibid., iv. 2. 
 
 Well. \i Percy [sometimes corruptly pronounced 'Piercy'] be alive, I'll pierce him. — 
 I H. IV., V. 3. 
 
 Dumain was at my service, and his sword : 
 
 No point [used as the French negative for ' none,' and in reference to the " point 
 of a sword], quoth I. — Love's L. L., v. 2. 
 
 Hath turned my {e\gnii prayer [as dissyllable] on my head. — R. III., v. i 
 
 Cousin, go draw out puissance [as trisyllable] together. — John, iii. i. 
 
 For every one pursents ['presents '] three. — Love's L. L., v. 2. 
 
 I quote [sometimes formerly pronounced like ' coat '] it in your jerkin. — Two 
 G. of v., ii. 4. 
 
 Renege [pronounced with a hard g, as if written ' reneag,' which is the spelling in 
 the quarto copy of this play], affirm, and turn their halcyon beaks. — Lear, ii. 2. 
 
 The buckles on his breast, reneges [pronounced with a hard g, and as a dissyllable] 
 all temper. — Ant. &■ C, i. i. 
 
 I myself reprehend [' represent'] his own person. — Love's L. L., i. i. 
 
 Oh, how this spring of love resembleih [as quadrisyllable]. — Two G. of V., i. 3. 
 
 That shall reverberate [as trisyllable] all as loud as thine. — jfolm, v. 2. 
 
 That I have room with Rome [sometimes pronounced like "room "] to curse awhile. 
 — Ibid., iii. 1. 
 
 Rome [sometimes pronounced like " roam ''] shall remedy this. — Roam thither, then. 
 —I H. VI., iii. I. 
 
 An he begin once, he '11 rail in his rope-tricks [the speaker confounds this with the 
 somewhat similarly sounding word ' rhetoric ' or ' rhetorics ' ; and accordingly quibbles 
 upon it in this sense, by introducing the term " figure" immediately afterwards]. I '11 
 tell you what, sir, an she stand him but a little, he will throw a figure in her face. — 
 Tarn, of S., i. 2. 
 
 Is not I'envoy a salve [although not pronounced like the Latin form of salutation, 
 salve. Moth chooses to pun upon the English epithet for unguent, as though it were so, 
 merely because they are spelt alike] ? — Love's L. L., iii. i. 
 
 Good, good, my lord ; the secrets [as trisyllable] of nature.— Tr. &• Cr., iv. 2. 
 
 And these two Dromios, one in semblance [as trisyllable]. — Com. of E., v. i. 
 
 Why, thou peevish sheep [similar sound], what ship of Epidamnum stays for me ? — 
 Ibid., iv. I. 
 
622 THE SHAKESPEARE KEY. 
 
 He is shipp'd already, and I have play'd the sheep [pronounced ' ship ' in Warwick- 
 shire and some other counties of England] in losing him. — Two G. of V., i. i. 
 
 Two hot sheeps [similar sound], marry. — And wherefore not skips ? — Love's L, L., ii. i. 
 
 He that knows better how to tame a shrctu [sometimes pronounced ' shrow ' ; which 
 gives the requisite rhyme here and in the following passages where the word is used], 
 now let him speak: 'tis charity to show. —Tarn, of S., iv. i. 
 Your husband, being troubled with a shrew, 
 Measures my husband's sorrow by his woe. — Ibid., v. 2. 
 Now, go thy ways ; thou hast tam'd a curst shrew, 
 'Tis a wonder, by your leave, she will be tam'd so. — Ibid., v. 2. 
 Oh, that your face were not so full of 's ! — 
 A pest of that jest ! and I beshrew all shrews. — Love's L. L., v. 2. 
 
 Erect his statiia [the Folio prints this word throughout all the passages where it is 
 used by Shakespeare, ' statue ' ; but it was often pronounced as a trisyllable in his 
 time, and he uses it trisyllabically in the four passages here cited. Not only was it 
 frequently pronounced as a trisyllable when Shakespeare lived, but it was often spelt 
 " statua " ; and on the assumption that he wrote it thus when he used it as a trisyllable, 
 we have preserved that form in our editions of his works where these passages occur] 
 and worship it. — 2 H. VI., iii. 2. 
 
 She dreamt to-night she saw my statua. — yul. C, ii. 2. 
 
 Even at the base of Pompey's statua. — Ibid., iii. 2. 
 
 But, like dumb statuas, or breathing stones. — R. III., iii. 7. 
 
 Who is the suitor [pronounced like ' shooter '] ? who is the suitor ? . . . Why, she 
 that bears the bow. — Love's L. L., iv. i. 
 
 Our targes [pronounced with a hard g, as a monosyllable] undinted. — Ant. &• C, ii. 6. 
 
 Stepped before targes [as monosyllable] of proof. — Cym., v. 5. 
 
 No, sir ; but it is vara [' very '] fine. — Ibid., v. 2. 
 
 Veal ['well '] quoth the Dutchman. — Ibid., v. 2. 
 
 A quick venew [an English form of the French word, venue ; used as a term of the 
 fencing-school for a ' hit 'J of wit. — Ibid., v. i. 
 
 Three veneys [a slip-shod form of ' venews '] for a dish of stewed prunes. — 
 Merry W., i. i. 
 
 Shakespeare has two passages of sarcastically and mimickingly 
 made blunders : — 
 
 Simple. I may not conceal [' reveal '] them. sir. — 
 
 Falstaff. Conceal them, or thou diest. — Ibid., iv. 5. 
 
 Nurse. If you be he, sir, I desire some confidence ['conference '] with you. — 
 
 Benvolio. She will indite [' invite '] him to some supper. — R. &• Jid., ii. 4. 
 
 And he has three droll specimens of drunken mispronunciation : — 
 
 I have heard the Ptolemies' pyramises [' pyramis ' was a form of " pyramid" used in 
 Shakespeare's time ; but its plural is excellently put into the mouth of the soaked 
 Lepidus] are very goodly things. — Ant. &• C ii. 7. 
 
 Do rae right, and dub me knight: samingo [muddled contraction of 'San Domingo']' 
 —2 H. IV., V. 3. 
 
 They are scoundrels and substractors [bousy blunder for ' detractors '] that say so of 
 him. — Tw. N., i. 3. 
 
 The following passages mark affected pronunciation : — 
 
 Such rackers of orthography, as to speak dout, fine, when he should say doubt; det 
 when he should pronounce debt, — d, e, b, t, not, d, e, t: he clepeth a calf, cauf : half 
 hauf; neighbour DocaiM/ nebour ; neigh abbreviated ne. This is abhominable, — which 
 he would call abominable. — Love's L. L., v. i. 
 
 Chirrah I — Quare chirrah, not sirrah ? — Ibid., v. 1. 
 
 Fair princess, you have lost much good sport [ finically pronounced i^amf or 'spot']. 
 — Sport [' spot '] ! of what colour J—As You L., i. 2. 
 
PROVINCIAL TERMS. 623 
 
 Against the which he has imponed [' impawned '], as I take it, six French rapiers. . . 
 Why is this imponed [' impawned '], as you call it ? — Hamlet, v. 2. 
 
 Shakespeare has appended a final "a" to certain words used by 
 Doctor Caius, by way of marking his French pronunciation of them: — 
 
 A box, a green-a box : do intend vat I speak ? a green-a box . . . come, take-a your 
 rapier, and come after my heel to de court. . . . Verefore shall I be content-a ? . . . 
 P«ac«-a your tongue ! S^cnA-a your tale . . . Sir Hugh «»(i-a you ? . . . You jack'nape, 
 give-a dis letter to Sir Hugh. ... It is no matter-a for dat : do not you tell-a me. — 
 Merry VF., i. 4. 
 
 I s\\a\\ procure-a you de good guest, de earl. — Ibid., ii. 3. 
 
 I pray you, let-a me speak a word vit your ear : verefore vill you not meet-a me ? . . . 
 Have you make-a de sot of us, ha, ha? — Ibid., iii. i. 
 
 De maid is love-a me ; my nursk-a Quickly tell me so much. — Ibid., iii. 2. 
 
 [See Spelling of Foreign Words.] 
 
 There are two passages where a word occurs that may have been 
 intended to be pronounced differently from the usual mode, to mark the 
 sense in which Shakespeare wished to have it understood : — 
 
 I take him to be a soul of great article ; and his infusion of such dearth and rare- 
 ness, as, &c. — Hamlet, v. 2. 
 
 Here — as including the sense of 'dearness,' 'value,' as well as that of 
 ' scarcity ' — " dearth," instead of being pronounced ' dirth,' may have 
 been intended to be pronounced ' deerth.' [See Varied Meanings, &c.] 
 Yet this imperseverant thing loves him in my despite. — Cym., iv. i. 
 
 Here, "imperseverant," including the sense of 'obstinately persever- 
 ing ' and that of ' unperceiving,' ' undiscerning,' may not have been pro- 
 nounced ' imperseveerant,' but ' imperceiverant.' [See Varied Meanings 
 
 COMBINED in OnE WorD OR SENTENCE.] 
 
 PROVINCIAL TERMS. 
 
 Shakespeare, the Warwickshire born and London sojourning man , 
 used several provincial expressions in his plays ; and these sturdy 
 sterling country words, coming amid the general refinement of his 
 style, are among the many points that give us cause to perceive the 
 advantage of his having had rural as well as urban experiences in his 
 life — all tending to make him the grand universal poet and dramatist 
 that he was : — 
 
 For the h\ooA-bolter' d [' clotted,' ' smeared'] Banquo smiles upon me. — Macb., iv. i. 
 
 Throw the quean in the channel [' kennel,' ' gutter ']. — 2 H. IV., ii. i. 
 
 Till famine cling [' shrivel,' ' shrink,' ' wither '] thee. — Macb., v. 5. 
 
 Whether your costard [' head '] or my ballow [' pole,' ' staff,' or ' cudgel '] be the 
 harder. — Lear, iv. 6. 
 
 When I have deck'd [' sprinkled '] the sea with drops full salt. — Temp., i. 2. 
 
 But fettle [' prepare,' ' make ready,' ' adjust,' ' put in order'] your fine joints 'gainst 
 Thursday next. — R. &• jful., iii. 5. 
 
 Where hearing should not latch [' catch,' ' catch the sound of] them. — Macb., iv. 3. 
 
 For selling the dukedom of Maine. — 
 
 And good reason ; for thereby is England mained [' maimed ' • by using the pro- 
 vincial form of the word here, opportunity is given for the pun between it and 
 " Maine"], and fain to go with a staff. — 2 H. VI., iv. 2. 
 
624 THE SHAKESPEARE KEY. 
 
 Shall the blessed sun of heaven prove a mi'c/Vcr [' truant,' 'skulker,' 'lurker'], and 
 eat blackberries ? — i H. IV., ii. 4. 
 
 We cannot miss [' do without'] him. — Temp., i. 2. 
 
 Swithold footed thrice the old [' vfold ']. — Lear, iii. 4. 
 
 Thou want'st a rough pash [' head ; ' usually applied to a young bull-calf, whose 
 horns are sprouting], and the shoots that I have. — W. T., i. 2. 
 
 I '11 give you leave to powder [' salt ' : ' powdered beef is still used in some English 
 provinces for ' corned beef ' or ' salted beef] me, and eat me too, to-morrow. — 
 I H. IV.. V. 4. 
 
 • He would pun [' pound '] thee into shivers with his fist, as a sailor breaks a biscuit. — 
 Tr. &• Cr., ii. i. 
 
 I haverubb'd this young quat ['pimple,' 'pustule' : here used as a nick-name] almost 
 to the sense. — 0th., v. i. 
 
 It is the pasture lards the rother's [' horned beast's '] sides, the want that makes him 
 lean. — Timon, iv. 3. 
 
 The above passage appears thus misprinted in the Folio : ' It is 
 the Pasteur Lards, the Brothers sides. The want that makes him 
 leaue.' Rowe corrected the word "pasture" ; the second FoHo, the word 
 " lean ;" and Mr. Singer, in 1842, suggested the word "rother," which 
 has since been generally adopted as the right word. In Holloway's 
 " General Provincial Dictionary" it is stated that there is a market in 
 Stratford-upon-Avon, called " the rother market " ; a point that brings 
 the word home to Shakespeare's own knowledge and familiar use, 
 giving every probability to its being the one he here employed. 
 
 And take thou my oblation, poor but free, 
 . Which is not mix'd with seconds [' inferior kind of flour ; ' here used figuratively for 
 'less pure matter']. — Sonnet 125. 
 
 PUNCTUATION. 
 
 The punctuation in the First Folio edition of Shakespeare's plays is 
 often so inaccurate as to leave much doubt with regard to the mode in 
 which he himself intended certain passages should be punctuated and 
 interpreted. A few of the most notable of these we here collectively cite ; 
 giving first each passage as printed in the Folio, and secondly as 
 printed in our own and most modern editors' text : — 
 
 There is more in it ; Cosen Ganimed. 
 
 There is more in it. — Cousin I — Ganymede! — As You L., iv. 3. 
 
 In the above passage the old printer seems to have taken " Cosen " 
 to be merely a term of address ; whereas if this had been intended by 
 the dramatist he would have made Celia address Rosalind as Brother 
 Ganymede. But by the word " Cousin " Shakespeare evidently meant 
 to indicate that Celia, in her alarm at seeing Rosalind faint, for an 
 instant forgets their assumed characters of relationship, and calls upon 
 her by the old accustomed title ; then, recollecting herself, says, 
 " Ganymede ! " 
 
 Here art thou in appointment fresh and faire. 
 Anticipating time. With starting courage, 
 Giue with thy Trumpet a loud note to Troy 
 Thou dreadfuU Aiax, that the appauled aire 
 May pierce the head of the great Combatant, 
 And hale him hither. 
 
PUNCTUATION. 
 
 Here art thou in appointment fresh and fair,. 
 Anticipating time with starting courage. 
 Give with thy trumpet a loud note to Troy, 
 Thou dreadful Ajax ; that the appalled air 
 May pierce the head of the great combatant,. 
 And hale him hither. — Tr. &• Cr., iv. 5_ 
 
 By placing the full stop after "time" instead of after "courage," 
 the Folio printer disjoins the first phrase, and bring.s the word " with ' 
 twice into the second phrase of the above speech. 
 
 All the contagion of the South, light on you, 
 
 You Shames of Rome : You Heard of Byles and Plagues 
 
 Plaister you ore, that you may be abhorr'd 
 
 Farther then seene, and one infect another 
 
 Against the Winde a mile : 
 
 All the contagion of the south light on you, 
 
 You shames of Rome ! you herd of — Boils and plagues 
 
 Plaster you o'er ; that you may be abhorred 
 
 Farther than seen, and one infect another 
 
 Against the wind a mile ! — Coriol., i. 4. 
 
 By omitting the dash between "herd of" and "Boils" the im- 
 petuous break in Marcius's speech is lost, and the sentence is rendered 
 meaningless. 
 
 May these same instruments, which you prophane, 
 Neuer sound more : when Drums and Trumpets shall 
 r th' field proue flatterers, let Courts and Cities be 
 Made all of false-fac'd soothing : 
 When Steele growes soft, as the Parasites Silke, 
 Let him be made an Ouerture for th' Warres : 
 
 May these same instruments, which you profane^ 
 
 Never sound more, when drums and trumpets shall 
 
 r the field prove flatterers ! Let courts and cities be 
 
 Made all of false-fac'd soothing. 
 
 When steel grows soft as the parasite's silk ! 
 
 Let them be made an overture for the wars ! — Ibid., i. 9. 
 
 The Folio's colon after " more " and its misprinting ' him ' for 
 " them " in the closing line, destroys the author's meaning ; which 
 appears to us to be a desire that the " instruments " shall not be pro- 
 faned into flourishers of laudation, but shall be reserved for preluders 
 to war. 
 
 Will all great Neptunes Ocean wash this blood 
 Cleane from my Hand ? no : this my Hand will rather 
 The multitudinous Seas incarnardine. 
 Making the Greene one. Red. 
 
 Will all great Neptune's ocean wash this blood 
 Clean from my hand ? No ; this my hand will rather 
 The multitudinous seas incarnardine. 
 Making the green — one red. — Macb., ii. 2. 
 
 The Folio printer, by putting a comma after " one," destroys the 
 force of the image and sense of the line, which we believe to be. 
 ' making the green of the seas one entire red colour.' 
 
 2 s 
 
•626 THE SHAKESPEARE KEY. 
 
 Kent. No, my good Lord, I am the very man. 
 
 Lear. He see that straight. 
 
 Kent. That from your first of difference and decay, 
 Haue follow'd your sad steps. 
 
 Lear. Your are welcome hither. 
 
 Kent. Nor no man else : 
 
 Kent. No, my good lord ; I am the very_man — 
 
 Lear. I '11 see that straight. 
 
 Kent. That, from your first of difference and decay. 
 Have follow'd your sad steps, — 
 
 Lear. You are welcome hither. 
 
 Kent. Nor no man else. — Lear, v. 3. 
 
 From the Folio having placed no indication of interruption at the 
 close of Kent's brief speeches here, it has generally been unperceived 
 that they are consecutive phrases with which he attempts to explain his 
 identity, and make his old master comprehend that he has followed him 
 throughout his distressed wanderings. So much has this want of per- 
 ception been produced by the Folio's defective punctuation in the pre- 
 sent dialogue, that various explanations have been given of Kent's 
 words, " Nor no man else," by those who have failed to perceive that 
 they are the conclusion of his attempted explanation to Lear. 
 Put out the Light, and then put out the Light : 
 Put out the light, and then— Put out the hght!— Of/i., v. 2. 
 
 By placing no stop between " then " and " put," the Folio printer 
 gives no indication of the dramatist's intention to make the speaker 
 interrupt himself with a repetition of his own words, that begin the line, 
 and afterwards proceed to the reflections which they awaken. 
 
 Yea, and furred mosse besides. When flowres are none 
 To winter-ground thy Coarse — 
 Yea, and furr'd moss besides, when flowers are none. 
 To winter-ground thy corse. — Cjm.-, iv. 2. 
 
 The full Stop put by the Folio printer after " besides," and the dash 
 after "corse," makes incomplete and incomprehensible this close to one 
 of our poet's most exquisitely written speeches. 
 
 Let vs bury him. 
 And not protract with admiration, what 
 Is now due debt. To th' graue. 
 
 Let us bury him. 
 And not protract with admiration what 
 Is now due debt. To the grave ! — Ibid., iv. 2. 
 
 In all our editions of Shakespeare's works, we have retained the 
 punctuation of the Folio, by placing a full stop after the word " debt " 
 in this last-quoted passage; but we have long entertained a strong im- 
 pression that he wrote the line thus, — ' Is now due debt to the grave.' 
 
 Shakespeare has given a specimen of one of the favourite jokes with 
 authors of his time ; which was, to produce a perfectly contrary sense 
 to the clauses of a speech by wrong punctuation. It is in the Prologue 
 to the Interlude enacted by the clowns before Duke Theseus :■ — ■ 
 
 If we offend, it is with our good will. 
 
 That you should think, we come not to offend. 
 But with good will. To show our simple skill, 
 
 That is the true beginning of our end. 
 
RECURRENCE OF PARTICULAR POINTS. 627 
 
 Consider, then, we come but in despite. 
 
 We do not come as minding to content you, 
 Our true intent is. All for your delight. 
 
 We are not here. That you should here repent you. 
 The actors are at hand ; and, by their show. 
 You shall know all, that you are like to know.— Mid. N. D., v. i. 
 
 And, in order that the purposed mispunctuation should not escape 
 notice, the dramatist has put into the mouth of two of the assembled 
 audience an amused comment : — 
 
 Theseus. This fellow doth not stand upon points. 
 
 Lysander. He hath rid his prologue like a rough colt ; he knows not the stop. 
 
 RECURRENCE OF PARTICULAR POINTS. 
 
 We have discovered recurrent traces of special features of style 
 marking certain plays by Shakespeare, which lead us to fancy that he 
 thought in that particular mode while he was writing that particular 
 drama. Sometimes it is a peculiar word, sometimes a peculiar manner 
 of construction, sometimes a peculiar fashion of employing epithets or 
 terms in an unusual sense. Throughout the play of " A Midsummer 
 Night's Dream" the word " respect " is used somewhat peculiarly; so 
 as to convey the idea of ' regard ' or ' consideration,' rather than the 
 more usually assigned one of ' reverence ' or ' deference ' : — 
 
 Or else misgraffed in respect of years. — Mid. N. D., i. i. 
 
 And she respects me as her only son. — Ibid., i. i. 
 
 What worser place can I beg in your love 
 
 (And yet a place of high respect with me). 
 
 Than to be used as you use your dog ? — Ibid., ii. 2. 
 
 Nor doth this wood lack worlds of company, 
 
 For you in my respect are all the world. — Ibid., ii. 2. 
 
 And what poor duty cannot do, 
 
 Noble respect takes it in might, not merit. — Ibid., v. i. 
 
 It is only in this play that the word " aby " and its abbreviated form 
 " 'by " are to be found : — 
 
 Lest, to thy peril, thou aby it dear. — Ibid., iii. 2. 
 
 Take not her part ; for, if thou dost intend 
 
 Never so little show of love to her, 
 
 Thou shalt aby it. — Ibid., iii. 2. 
 
 Nay, then, thou mock'st me. Thou shalt 'by this dear. 
 
 If ever I thy face by daylight see. — Ibid., iii. 2. 
 
 In " The Merchant of Venice " the word " imposition " is twice used 
 in the sense of an injunction laid upon a person : — 
 
 Unless you may be won by some other sort than your father's imposition, depending 
 on the caskets. — Mer. of V., i. 2. 
 
 I do desire you 
 Not to deny this imposition; 
 The which my love, and some necessity. 
 Now lays upon you. — Ibid., iii. 4. 
 
 2 S 2 
 
628 THE SHAKESPEARE KEY. 
 
 A somewhat similar and somewhat peculiar form of phrase also 
 occurs twice in this play : — 
 
 I never did repent for doing good, 
 
 Nor shall not now. — Mer. of V., iii. 4. 
 
 My mind was never yet more mercenary. — Ibid., iv. i. 
 
 In the play of " As You Like It " the word " occasion " is twice used 
 with exceptionally elliptical force. The first time, the sentence implies 
 ' make out her fault to be her husband's occasioning ' or ' to be occa- 
 sioned by her husband ' ; the second time, the sentence implies 
 ' stronger than his sense of that which might justly have occasioned 
 his resentful abandonment of his brother ' : — 
 
 0, that woman that cannot make her fault her husband's occasion, let her never 
 nurse her child herself, for she will breed it like a fool. — As You L., iv. i. 
 But kindness, nobler ever than revenge, 
 And nature, stronger than his just occasion, 
 Made him give battle to the lioness. — Ibid., iv. 3. 
 
 A peculiar idiomatic expression occurs twice in "All's Well that 
 Ends Well." In the first passage it implies ' subscribed to,' 'confessed 
 to having,' 'owned to,' 'gave tokens of possessing'; in the second 
 passage, it implies ' give evidence of the right to be called,' ' show that 
 I am worthy to be styled,' ' may proclaim mj'self to be': — 
 
 I 'd give bay Curtal and his furniture, 
 My mouth no more were broken than these boys'. 
 And writ as little beard. — All's W., ii. 3. 
 I must tell thee, sirrah, I write man ; to which title age cannot bring thee. — 
 Ibid., ii. 3. 
 
 In the play of " Twelfth Night " we trace more than one allusion to 
 the astrological belief that prevailed in Shakespeare's time respecting 
 the influence of certain stars and constellations upon the human dis- 
 position and upon individual temperament : — 
 
 I did think by the excellent constitution of thy leg, it vjss formed under the star of 
 a galliard. . . . Shall we set about some revels ? — What shall we do else ? were we not 
 born under Taurus ? — Taurus! That 's sides and heart. — No, sir, it is legs and thighs. 
 —Tw. N., i. 3. 
 
 I know thy constellation is right apt 
 
 For this affair. — Ibid., i. 4. 
 
 A marked feature in " The Winter's Tale " is the numerous elisional 
 contractions \_See Elisioxal Abbreviations] contained in its diction ; 
 and Shakespeare has several times introduced into this play the im- 
 pressive iteration of a word with felicitous effect :— 
 
 There is no tongue that moves, none, none i' the world. 
 
 So soon as yours, could win me. — W. T., i. 2. 
 
 My lord the king, the king ! — Ibid., iii. 2. 
 
 When I have said, cry. Woe ! the queen, the queen. 
 
 The sweet'st, dear'st creature 's dead. — Ibid., iii. 2. 
 
 When you do dance, I wish you 
 A wave o' the sea, that you might ever do 
 Nothing but that ; move still, still so. 
 And own no other function. — Ibid., iv. 3. 
 
 Stars, stars. 
 And all eyes else dead coals. — Ibid., v. i. 
 
RECURRENCE OF PARTICULAR POINTS. 629 
 
 In this play we find rather unusually numerous indications of gesture 
 and look [See Indications of Conduct, &c.]. 
 
 In this play Shakespeare has twice used the word "best" as an 
 epithet of affectionate esteem : — 
 
 What cheer ? How is 't with you, best brother ? — W. T., i. 2. 
 My best Camillo ! We must disguise ourselves. — Ibid., iv. i. 
 
 And in this play he has not only twice used the word " forced " in the 
 peculiar sense of ' perverted from truth,' ' wrj'ed from fact,' ' false ' ; he 
 has also used "forcing" to express 'falsely imputing,' wrongfully 
 charging ' : — 
 
 For ever 
 Unvenerable be thy hands, if thou 
 Tak'st up the princess by iha.t forced baseness 
 Which he has put upon 't ! — Ibid., ii. 3. 
 With these forc'd thoughts, I pr'ythee, darken not 
 The mirth o' the feast. — Ibid., iv. 3. 
 These proclamations. 
 So forcing faults upon Hermione, 
 I little like. — Ibid., iii. i. 
 
 In the play of " King John " there is a very remarkable abundance of 
 passages with repeated similar words [See Repeated Words], and of 
 passages with not only double iteration, but triple iteration of the same 
 word : — 
 
 You 3.re forsworn, forsworn. — jfohn, iii. i. 
 
 Arm, arm, you heavens, against these perjur'd kings ! — Ibid., iii. i. 
 
 Hear me ! O, hear me ! — Ibid., iii. i. 
 
 Lo, now .' now see the issue of your peace ! — Ibid., iii. 4. 
 
 I am not mad ; too well, too well I feel 
 
 The different plague of each calamity. — Ibid., iii. 4. 
 
 But from the inward motion to deliver 
 
 Sweet, sweet, sweet poison for the age's tooth. — Ibid., i. i. 
 
 War ! war ! no peace! peace is to me a war, — Ibid., iii. i. 
 
 Good Hubert, Hubert, Hubert, throw thine eye 
 
 On yond' young boy. — Ibid., iii. 3. 
 
 No, I defy all counsel, all redress. 
 
 But that which ends all counsel, true redress. 
 
 Death, death : O, amiable lovely death ! — Ibid., iii. 4. 
 
 In this play, also, twice occurs an expression which is to be found 
 nowhere else used by Shakespeare. It is " lord of thy presence " and 
 "lord of our presence," employed to signify 'master of thine own 
 individuality,' and ' master of our own individuality.' In the first of 
 the two passages, we think it is meant to include the sense of ' master 
 of that fine manly person inherited from Coeur-de-Lion,' as well as 
 ' master of thine own self or individuality ' : — 
 
 Whether hadst thou rather be a Faulconbridge, 
 
 And like thy brother, to enjoy thy land, 
 
 Or the reputed son of Coeur-de-Lion, 
 
 Lord of thy presence, and no land beside P^/Jid., i. i. 
 
 In us, that are our own great deputy, 
 
 And bear possession of our person here ; 
 
 Lord of our presence, Anglers, and of you. — Ibid., ii. 2. 
 
630 THE SHAKESPEARE KEY. 
 
 In the historical tragedy of Richard II. there are several instances of 
 defective lines ; of transposed construction [See Peculiar Construc- 
 tion] ; of nouns used elliptically [See Elliptically Used Words] ; 
 of antique contracted forms of words and a marked prevalence of com- 
 pound epithets. There are also three peculiar expressions which 
 Shakespeare has used in this play only : — 
 
 Where, then, alas! may I complain myself? — R. II., i. 2. 
 
 And toil'd with works of war, retired himself 
 
 To Italy. — Ihid., iv. i. 
 
 He is our cousin, cousin ; but V/j doubt, 
 
 When time shall call him home from banishment, 
 
 Whether our kinsman come to see his friends. — Ibid., i. 4. 
 
 Depress'd he is already ; and depos'd, 
 
 'Tis doubt, he will be. — Ibid., iii. 4. 
 
 In the " First Part of King Henry IV." there is an immense number 
 of nick-names {See Particular Names] ; but this is naturally accounted 
 for by the presence of fertile-brained Sir John Falstaff and his associates, 
 since the same peculiarity is observable in each of the plays where he 
 figures. 
 
 We observe that in the " Second Part of King Henry IV." " accite " 
 and " accites " are both used ; but nowhere else by Shakespeare* : — 
 
 And what accites your most worshipful thought to think so ? — 2 H. IV., ii. 2. 
 
 Our coronation done, we will accite, 
 
 As I before remember'd, all our state. — Ibid., v. 2. 
 
 In theplayof" King Henry V." the amplified form of " vasty," instead 
 of the simpler and more usual one of " vast," occurs no fewer than three 
 times : — 
 
 Can this cockpit hold 
 The vasty fields of France? — H. V., i. {Chorus). 
 He might return to vasty Tartar back. — Ibid., ii. 2. 
 
 To take mercy 
 On the poor souls, for whom this hungry war 
 Opens his vasty jaws. — Ibid., ii. 4. 
 
 The " First Part of King Henry VI." contains so many recurrent 
 points of variously bad style, that they combine to establish our convic- 
 tion that this play was not Shakespeare's composition. We think it was 
 merely retouched by him for the purpose of stage representation ; as 
 the points in it are few where we see manifest tokens of his master-hand. 
 One of these is the passage of five lines, in act i., sc. 2, commencing, 
 "Glory is like a circle in the water" ; and which passage, be it ob- 
 served, has a remarkable air of irrelevancy in the speech, as if it had 
 been introduced by some other hand than the one that wrote the main 
 dialogue of the scene. Another portion that we think gives token of 
 Shakespeare's manner is the fourth scene of the second act, describing 
 the incident in the Temple Garden which gave rise to the adoption of 
 
 * There is an instance of " accited," occurring in "Titus Andronicus ; " but we do 
 not believe that revolting play to have been one of our author's productions. 
 
RECURRENCE OF PARTICULAR POINTS. 631 
 
 the red rose and the white rose as badges of the factions of Lancaster 
 and York; for it is written with a spirit and vigour in the diction, a 
 general air of strength with simpHcity, and of energy without bombast, 
 that we vainly look for throughout the rest of the play — with the excep- 
 tion of dying Mortimer's speech at the commencement of sc. 5, act ii., 
 which we also find much in Shakespeare's stj-le. But the numerous 
 points of un-Shakespearian diction strike us at every page. See, for 
 example, how often the little word " so " is clumsily used : — 
 
 The battles of the Lord of hosts he fought ; 
 
 The church's prayers made him so prosperous. — i H. VI., i. i. 
 
 Else ne'er could they hold out so as they do. — Ibid., i. 2. 
 
 Here, said they, is the terror of the French, 
 
 The scare-crow that affrights our children so. — Ibid., i. 4. 
 
 How now, my lords ' what all unready so ? — Ibid., ii. i. 
 
 Didst thou at first, to flatter us withal. 
 
 Make us partakers of a little gain. 
 
 That now our loss might be ten times so much ?' — Ibid., ii. i. 
 
 Madam, according as your ladyship desir'd. 
 
 By message crav'd, so is Lord Talbot come. — Ibid., ii. 3. 
 
 Fly to revenge my death, if I be slain. — 
 
 He' that flies so will ne'er return again. — Ibid., iv. 5. 
 
 And how awkwardly " quite " is used : — 
 
 Paris, Guysors, Poictiers, are all quite lost. — Ibid., i. i. 
 
 France is revolted from the English quite. 
 
 Except some petty towns of no import. — Ibid., i. i. 
 
 The king, thy sovereign, is not quite exempt 
 
 From envious malice of thy swelling heart. — Ibid., iii. i. 
 
 And should (if I were worthy to be judge) 
 
 Be quite degraded, like a hedge-born swain 
 
 That doth presume to boast of gentle blood, — Ibid., iv. i. 
 
 Henceforth I charge you, as you love our favour. 
 
 Quite to forget this quarrel and the cause. — Ibid., iv. i. 
 
 And " about " : — 
 
 I do remember it ; and here take my leave. 
 To go about my preparation. — Ibid., i. i. 
 I was employ'd in passing to and fro, 
 About relieving of the sentinels. — Ibid., ii. i. 
 
 And " likewise" : — 
 
 Most of the rest slaughter'd or took, likewise. — Ibid., i. i. 
 
 I would his troubles likewise were expired. 
 
 That so he might recover what was lost. — Ibid., ii. 5. 
 
 And " now " : — 
 
 Now will it best avail your majesty 
 
 To cross the seas, and to be crown'd in France. — Ibid., iii. i. 
 
 And now no more ado, brave Burgundy, 
 
 But gather we our forces out of hand. 
 
 And set upon our boasting enemy. — Ibid., iii. 2. 
 
 And " then," and " enough," uncouthly brought in at the end of a 
 line : — 
 
'632 THE SHAKESPEARE KEY. 
 
 Was Mahomet inspired with a dove ? 
 
 Thou with an eagle art inspir'd, then. — i H. VI., i. 2. 
 
 Bright star of Venus, fall'n down on the earth, 
 
 How may I reverently worship thee enough !—Ibid., i. 2. 
 
 And the untragic mode in which " O, no " is twice made to com- 
 mence the Third Messenger's replies : — 
 
 What ! wherein Talbot overcame ? Is 't so ? 
 
 0, no; wherein Lord Talbot was o'erthrown. — Ibid., i. i. 
 
 Is Talbot slain ? then I will slay myself, 
 
 For living idly here in pomp and ease. 
 
 Whilst such a worthy leader, wanting aid, 
 
 Unto his dastard foemen is betray'd. — 
 
 0, no, he lives; but is tools prisoner. — Ibid., i. i. 
 
 Then the peculiar sense in which certain words are used : — 
 
 In single combat thou shalt buckle [' contend '] with me. — Ibid., i. 2. 
 All our general force 
 
 Might with a sally of the very town 
 
 Be buckled [' engaged '] with. — Ibid., iv. 4. 
 
 My ancient incantations are too weak. 
 
 And hell too strong for me to buckle ['contend'] with. — Ibid., v. 3. 
 Andsent our sons and husbands captivate [' taken captive']. — Ibid., ii. 3. 
 Tush, women have been captivate [' taken captive '] ere now. — Ibid., v. 3. 
 
 But mark : as, in this haughty [' lofty, ' exalted '] great attempt. 
 
 They laboured to plant the rightful heir. — Ibid., ii. 5. 
 
 I am vanquish'd ; these haughty [' exalted '] words of hers 
 
 Have batter'd me like roaring cannon-shot. 
 
 And made me almost yield upon my knees. — Ibid., iii. 3. 
 
 Knights of the garter were of noble birth. 
 
 Valiant and virtuous, full of haughty ['high,' 'lofty'] courage, 
 
 Such as were grown to credit by the wars. — Ibid., iv. i. 
 
 And then the ludicrously stiff phrases of announcement, so thoroughly 
 un- Shakespearian, that recur again and again in this play : — 
 
 I must inform you of a dismal fight 
 
 Betwixt the stout Lord Talbot and the French. — Ibid., i. i. 
 
 The circumstance I 'II tell you more at large. — Ibid., i. i, 
 
 / 'II to the Tower, with all the haste I can. 
 
 To view th' artillery and munition ; 
 
 And then I will proclaim young Henry king. — 
 
 To Eltham will I, where the young king is, 
 
 Being ordain'd his special governor ; 
 
 And for his safety there I 11 best devise. — 
 
 Each hath his place and function to attend : 
 
 I am left out ; for me nothing remains. 
 
 But long I will not be Jack-out-of-office : 
 
 The king from Eltham I intend to steal. 
 
 And sit at chiefest stern of public weal. — Ibid., i, i. 
 
 T am come to survey the Tower this day. — Ibid,, i. 3. 
 
 / must go victual Orleans forthwith. — Ibid., i. 5. 
 
 Agreed : I 'II to yon corner. — 
 
 And I to this. — 
 And here will Talbot mount, or make his grave. — Ibid., ii. i. 
 
RECURRENCE OF PARTICULAR POINTS. 633 
 
 And also the number of lame and tame lines ; which not even 
 Shakespeare's own assertion to that effect could make us believe to be 
 his writing : — 
 
 Among the soldiers this is muttered, — 
 
 That here you maintain several factions. — i H. VI., i. i. 
 
 A third man thinks, without expense at all. 
 
 By guileful fair words peace may be obtained. — Ibid., i. i. 
 
 Ten thousand soldiers with me I will take. 
 
 Whose bloody deeds shall make all Europe quake. — Ibid., i. i. 
 
 Chief master-gunner am I of this town ; 
 
 Something I must do to procure me grace. — Ibid., i. 4. 
 
 How wert thou handled, being prisoner ? 
 
 Or by what means got'st thou to be releas'd ? — Ibid., i. 4. 
 
 / grieve to hear what torments you endur'd ; 
 
 But we will be reveng'd sufficiently. — Ibid., i. 4. 
 
 Let me have your express opinions. 
 
 Where is best place to make our battery next. — Ibid., i. 4. 
 
 Stay, stay, I say ! 
 And, if you love me, as you say you do. 
 Let me persuade you to forbear awhile. — Ibid., iii. i. 
 But kings and mightiest potentates must die. 
 For that '5 the end of human misery. — Ibid., iii. 2. 
 Now let us on, my lords, and join our powers ; 
 And seek how we may prejudice the foe, — Ibid., iii. 3. 
 To say the truth, this fact was infamous. 
 And ill beseeming any common man. 
 Much more a knight, a captain, and a leader. — Ibid., iv. i. 
 Fain would I woo her, yet I dare not speak : 
 J VZ call for pen and ink, and write my mind. — Ibid., v. 3. 
 
 The fustian style of the threats, too, mere rant and balderdash, are 
 utterly unlike Shakespeare, except when he is writing Pistol's 
 diction : — 
 
 Priest, beware your beard ; 
 
 I mean to tug it, and to cuff you soundly : 
 
 Under my feet I stamp thy cardinal's hat ; 
 
 In spite of Pope or dignities of church. 
 
 Here by the cheeks I 'II drag thee up and down. — Ibid., i. 3. 
 
 But, O, the treacherous Fastolfe wounds my heart ! 
 
 Whom with my bare fists I would execute. 
 
 If I now had him brought into my power. — Ibid., i. 4. 
 
 Your hearts I 'II stamp out with my horse's heels. 
 
 And make a quagmire of your mingled brains. — Ibid., i. 4. 
 
 O, were mine eye-balls into bullets turn'd. 
 
 That I, in rage, might shoot them at your faces ! — Ibid., iv. 7. 
 
 May never glorious sun reflex his beams 
 
 Upon the country where you make abode ; 
 
 But darkness and the gloomy shade of death 
 
 Environ you, till mischief and despair 
 
 Drive you to break your necks, or hang yourselves i — Ibid., v. 4. 
 
 Then the wretchedly poor similes ; — 
 
 Let frantic Talbot triumph for awhile. 
 And like a peacock sweep along his tail ; 
 
634 THE SHAKESPEARE KEY. 
 
 We 'II pull his plumes, and take away his train, 
 
 If Dauphin and the rest will be but rul'd. — i H. VI., iii. 3. 
 
 As plays the sun upon the glassy streams, 
 
 Twinkling another counterfeited beam. 
 
 So seems this gorgeous beauty to mine eyes. — Ibid., v. 3. . 
 
 A number of flatly tautological expressions disfigure the diction in 
 this play [See Pleonasms, page 611] : — 
 
 Warlike and martial Talbot, Burgundy. — Ibid., iii. 2. 
 Presumptuous vassals, are you not asham'd. 
 With this immodest clamorous outrage 
 To trouble and disturb the king and us ? — Ibid., iv. i. 
 More rancorous spite, more furious raging broils. 
 Than yet can be imagin'd or suppos'd. — Ibid., iv. i. 
 I may revolve and ruminate my grief. — Ibid., v. 5. 
 
 Also an ineffective repetition : — 
 
 Thy humble servant vows obedience 
 
 And humble service till the point of death. — Ibid., iii. i. 
 
 Also an ambiguously and awkwardly worded sentence; where "that 
 grudge one thought "may be meant to express ' that think one grudging 
 thought,' or (if " grudge " be used in an old sense it bore of ' murmur,' 
 ' complain ') it may be meant to express ' that mutter to themselves 
 one thought ' : — 
 
 So perish they 
 That grudge one thought against your majesty. — Ibid., iii. i. 
 
 Also two glaring dramatic discrepancies, utterly at variance with our 
 great dramatist's artistic method in such particulars. In an early scene 
 of the play Joan of Arc is made to say she is of lowly birth, and subse- 
 quently to say she is of royal birth. In another early scene Winchester 
 appears already as a cardinal; yet in the fifth act he is spoken of as a 
 newly made cardinal. These are inconsistencies not in accordance 
 with Shakespeare's style : — 
 
 Dauphin, I am by birth a shepherd's daughter. 
 
 My wit untrain'd in any kind of art. — Ibid., i. 2. 
 
 First, let me tell you whom you have condemn'd : 
 
 Not me begotten of a shepherd swain. 
 
 But issu'dfrom the progeny of kings. — Ibid., v. 4. 
 
 The Cardinal of Winchester forbids . . . 
 
 I '11 canvass thee in thy broad cardinal's hat. . . . 
 
 Under my feet I stamp thy cardinal's hat. . . . 
 
 Cardinal, I '11 be no breaker of the law. . . . 
 
 This cardinal 's more haughty than the devil. — Ibid., i. 3. 
 
 What ! is my lord of Winchester install'd. 
 
 And call'd unto a cardinal's degree? — Ibid., v. i. 
 
 Also several instances of lumberingly transposed construction, utterly 
 un-Shakespearian in manner : — 
 
 Sad tidings bring I to you out of France. — Ibid., i. i. 
 Farewell, my masters ; to my task will I. — Ibid., i. i. 
 A holy maid hither with me I bring. — Ibid., i. 2. 
 
RECURRENCE OF PARTICULAR POINTS. 635 
 
 In open market-place produc'd they me. — i H. VI., i. 4. 
 
 Here is Sir William Lucy, who with me 
 
 Set from our o'er-match'd forces forth for aid. — Ibid., iv. 4. 
 
 For fly he could not, if he would have fled ; 
 
 And fly would Talbot never, though he might. — Ibid., iv. 4. 
 
 Finally, we meet frequently in this play with a questioning phraseo- 
 logy ; an introduction of bald, irrelevant queries, that give an inex- 
 pressibly undramatic and platitudinising effect to the dialogue, and 
 which are essentially unlike Shakespeare's style : — 
 
 His sparkling eyes, replete with wrathful fire, 
 
 More dazzled and drove back his enemies 
 
 Than mid-day sun fierce bent against their faces. 
 
 What should I say ? his deeds exceed all speech : 
 
 He ne'er lift up his hand, but conquered. — 
 
 We mourn in black : why mourn we not in blood? . . . 
 
 What, shall we curse the planets of mishap. 
 
 That plotted thus our glory's overthrow ? 
 
 Or shall we think the subtle-witted French 
 
 Conjurors and sorcerers, that, afraid of him. 
 
 By magic verses have contriv'd his end ? — Ibid., i. i. 
 
 The battles of the Lord of hosts he fought : 
 
 The church's prayers made him so prosperous. — 
 
 The church ! where is it ? Had not churchmen pray'd. 
 
 His thread of life had not so soon decay'd. — Ibid., i. i. 
 
 The Dauphin crowned king! all fly to him ! 
 
 0, whither shall we fly from this reproach ? — Ibid., i. i. 
 
 Now we are victors, upon us he smiles. 
 
 What towns of any moment hit we have ? 
 
 At pleasure here we lie, near Orleans. — Ibid., i. 2. 
 
 Let 's raise the siege : why live we idly here ? 
 
 Talbot is taken, whom we wont to fear. — Ibid., i. 2. 
 
 Who ever saw the like ? What men have I ! — Ibid., i. 2. 
 
 One to ten ! 
 Lean raw-bon'd rascals ! who would e'er suppose 
 They had such courage and audacity ? — Ibid., i. 2. 
 What ! am I dar'd, and bearded to my face ? — Ibid., i. 3. 
 Where is my strength, my valour, and my force ? 
 Our English troops retire, I cannot stay them. — Ibid., i. 5. 
 Heavens, can you suffer hell so to prevail ? 
 My breast I'll burst with straining of my courage. — Ibid., i. 5. 
 Divinest creature, bright Astrasa's daughter, 
 How shall I hoiwur thee for this success ? 
 Thy promises are like Adonis' gardens. 
 
 That one day bloom'd, and fruitful were the next. — Ibid., i. 6. 
 Why ring not out the bells throughout the town ? 
 Dauphin, command the citizens make bonfires. — Ibid., i. 6. 
 Now, quiet soul, depart when Heaven please, 
 For I have seen our enemies' overthrow. 
 What is the trust or strength of foolish men ? 
 They, that of late were daring with their scoffs. 
 Are glad and fain by flight to save themselves. — Ibid,, iii. 2. 
 Thanks, gentle duke. But where is Pucelle now ? 
 I think her old familiar is asleep : 
 
 Now where 's the Bastard's braves, and Charles his gleeks ? 
 What, all a-mort ? Rouen hangs her head for grief 
 That such a vahant company are fled. — Ibid., iii. 2. 
 
636 THE SHAKESPEARE KEY. 
 
 O monstrous treachery ! Can this be so, — 
 
 That in alliance, amity, and oaths. 
 
 There should be found such false dissembling guile ? — i H. VI., iv. i. 
 
 Alas, what joy shall noble Talbot have. 
 
 To bid his young son welcome to his grave ? 
 
 Away ! vexation almost stops my breath, 
 
 That sunder'd friends greet in the hour of death. — Ibid., iv. 3. 
 
 Fie, De la Poole ! disable not thyself; 
 
 Hast not a tongue ? is she not here thy prisoner ? 
 
 Wilt thou be daunted at a woman's sight ? 
 
 Ay, beauty's princely majesty is such. 
 
 Confounds the tongue, and makes the senses rough. — Ibid., v. 3. 
 
 And therefore, lords, since he affects her most, 
 
 It most of all these reasons bindeth us. 
 
 In our opinions she should be preferr'd. 
 
 For what is wedlock forced but a hell. 
 
 An age of discord and continual strife ? 
 
 Whereas the contrary bringeth bliss. 
 
 And is a pattern of celestial peace. 
 
 Whom should we match with Henry, being a king? 
 
 But Margaret, that is daughter to a king ? — Ibid., v. 5. 
 
 We have taken some pains to collect the above instances of recurrently 
 vicious style in the play of the " First Part of King Henry VI."; glad 
 of this opportunity to testify by intrinsic evidence how dissimilar the 
 majority of its diction is to Shakespeare's mode of composition, and 
 how well-founded is our belief that but a very minute portion of it is 
 his writing. 
 
 The " Second Part of King Henry VI." contains several examples of 
 words in their contracted form ; and in it there occur an epithet and 
 a word each twice repeated, which our author has not used else- 
 where : — 
 
 With you, mine aXiei-liefest sovereign. — 2 H. VI., i. i. 
 
 My liefest liege to be mine enemy. — Ibid., iii. i. 
 
 Before the wound do grow uncurable. — Ibid., iii. i. 
 
 But fly you must; uncurable discomfit 
 
 Reigns in the hearts of all our present parts. — Ibid., v. 2. 
 
 In the " Third Part of King Henry VI." the word " prize " is twice 
 used in the unusual sense of ' privilege' : — 
 
 It is wax's prize to take all vantages. — 3 H. VI., i. 4. 
 Methinks 'tis prize enough to be his son. — Ibid., ii. i. 
 
 An idiomatic expression — " in place," signifying ' in company,' 
 ' present,' ' among those assembled ' — occurs twice in this play: — 
 
 But what said Henry's queen ? 
 For I have heard that she was there in place. — Ibid., iv. i. 
 Yet in this one thing let me blame your grace. 
 For choosing me when Clarence is in place. — Ibid., iv. 6. 
 
 A similar phrase is twice introduced : — 
 
 Environed he was with many foes ; 
 
 And stood against them, as the hope of Troy 
 
 Against the Greeks. — Ibid., ii. i. 
 
 Farewell, my Hector, and my Troy's true hope. — Ibid., iv. 8. 
 
RECURRENCE OF PARTICULAR POINTS. 637 
 
 And another similar phrase occurs twice ; which has caused some 
 misapprehension in commentators, who suppose the phrase to be 
 both times appHed to Warwick. This supposition probably arose from 
 the confused effect given to the first passage where the phrase occurs 
 by the employment of "thine" in the first two lines of the speech, 
 when Edward is addressing Warwick ; and by the employment of 
 "thee," "thou," and "thy," immediately afterwards, when Edward 
 appeals to the divine power. Another cause for the supposition is, 
 that in the second passage where the phrase occurs, Margaret unmis- 
 takably addresses it to Warwick, who was popularly known by the 
 name of ' Warwick, the king-maker': — 
 
 O, Wanvick, I do bend my knee with thine ; 
 
 And in this vow do chain my soul to thine ! 
 
 And, ere my knee rise from the earth's cold face, 
 
 I throw my hands, mine eyes, my heart to thee. 
 
 Thou setter up and plucker down of kings, — 
 
 Beseeching thee, if with thy will it stands, 
 
 That to my foes this body must be prey. 
 
 Yet that thy brazen gates of Heaven may ope. 
 
 And give sweet passage to my sinful soul ! — 3 H. VI , ii. 3. 
 
 Peace, impudent and shameless Warwick, — 
 
 Proud setter up and puller down of kings I — Ibid., iii. 3. 
 
 In " King Richard III." we see an iterated word used more than once 
 to express eagerness [See Iterated Words]; "that" several times 
 used redundantly : — 
 
 Till that the duke give order for. — R. III., i. 4. 
 
 How that the guilty kindred of the queen. — Ibid., ii. i. 
 
 If that our noble father be alive ? — Ibid., ii. 2. 
 
 When that he bids good-morrow with such. — Ibid., iii. 4. 
 
 Be branded, if that right were right. — Ibid., iv. 4. 
 
 You speak as if that I had slain my. — Ibid., iv. 4. 
 
 And the word " reason " employed in the sense of ' talk inquiringly 
 or arguingly,' ' parley,' no fewer than four times: — 
 
 I am, in this, commanded to deliver 
 
 The noble Duke of Clarence to your hands : 
 
 I will not reason what is meant hereby. 
 
 Because I will be guiltless of the meaning. — Ibid., i. 4. 
 
 Strike !— 
 
 No, we '11 reason with him. — Ibid., i. 4. 
 
 You cannot reason almost with a man 
 
 That looks not heavily and full of dread. — Ibid., ii. 3. 
 
 Away towards Salisbury ! while we reason here, 
 
 A royal battle might be won and lost. — Ibid., iv. 4. 
 
 Theplay of" King Henry VIII." abounds with tokens of Shakespeare's 
 thinking and writing in a particular manner at the period when he 
 composed this magnificent historical drama. In the first place there is 
 a marked prevalence of contractions by elision [See Elisional Abbre- 
 viations] ; so much so that one of them, assuming it to be a mere 
 
638 THE SHAKESPEARE KEY. 
 
 habit of his pen at the time when he wrote this play, we have never 
 retained in the text of any of our editions of his works. It is the 
 elisional form of " 'em " for 'them ' ; and inasmuch as we believe it to 
 have been merely a temporary trick of handwriting, not intended by 
 him to be either spoken or printed thus, we think it should be omitted 
 from such passages as the following (a few only of those where " 'em " 
 is given for " them " in the Folio throughout this play), where it mars 
 the effect, and where it is certainly not in accordance with Shake- 
 speare's usual style in passages of kindred staidness. Be it observed, 
 also, that it cannot be intended as a mark of characteristic diction, 
 since it occurs in speeches made by various speakers, and speakers 
 of lofty character and diction. For instance, in one of the Duke of 
 Norfolk's speeches, giving a stately description of the royal meeting at 
 the Field of the Cloth of Gold :— 
 
 When these suns 
 (For so they phrase 'em) by their heralds challeng'd 
 The noble spirits to arms, they did perform 
 Beyond thought's compass. — H. VIII., i. i. 
 
 In Queen Katharine's speech of noble remonstance to her husband : — 
 
 I am solicited, not by a few. 
 
 And those of true condition, that your subjects 
 
 Are in great grievance : there have been commissions 
 
 Sent down among 'em, which hath flaw'd the heart 
 
 Of all their loyalties. — Ibid., i. 2. 
 
 In the king's speech at the festal dance in York Place :^ 
 
 I have half a dozen healths 
 To drink to these fair ladies, and a measure 
 To lead 'em once again. — Ibid., i. 4. 
 
 In Buckingham's speech as he is led to death : — 
 
 But those that sought it I could wish more Christians : 
 
 Be what they will. I heartily forgive 'cm : 
 
 Yet let 'em look they glory not in mischief, 
 
 Nor build their evils on the graves of great men ; 
 
 For then my guiltless blood must cry against 'em. — Ibid., ii. i. 
 
 And in Wolsey's speech of denouncement to the hostile lords : — 
 
 Follow your envious courses, men of malice ; 
 
 You have Christian warrant for 'em, and, no doubt. 
 
 In time will find their fit rewards. — Ibid., iii. 2. 
 
 There are likewise to be traced, throughout the present play, several 
 instances of a redundant form of phrase [See Pleonasms] ; very 
 numerous examples of ellipsis [See Elliptical Style] ; many pas- 
 sages of irony [See Ironical Phrases] ; unusually frequent and de- 
 tailed stage directions, [See Stage Directions and Entrances] ; 
 frequent sentences of constructional conciseness [See Peculiar Con- 
 struction] ; and an abundance of parentheses, of which we will quote 
 no more than those occurring in the first act only : — 
 
RECURRENCE OF PARTICULAR POINTS. 639 
 
 When these suns 
 (For so they phrase them) by their heralds challenged 
 The noble spirits to arms. — H. VIII., i. i. 
 
 I advise you 
 (And take it from a heart that wishes towards you 
 Honour and plenteous safety), that you read 
 The cardinal's malice and his potency 
 Together. — Ibid., i. i. 
 
 But this top-proud fellow, 
 (Whom from the flow of gall I name not, but 
 From sincere motions) by intelligence. 
 And proofs as clear as founts in July, when 
 We see each grain of gravel, I do know 
 To be corrupt and treasonous. — Ibid., i. i. 
 
 This holy fox, 
 Or wolf, or both (for he is equal ravenous 
 As he is subtle, and as prone to mischief 
 As able to perform 't ; his mind and place 
 Infecting one another, yea, reciprocally), 
 Only to show his pomp as well in France 
 As here at home. — Ibid., i. i. 
 
 Now this follows 
 (Which, as I take it, is a kind of puppy 
 To the old dam. treason), — Charles the emperor, 
 Under pretence to see the queen his aunt 
 (For 'twas indeed his colour, but he came 
 ■Po whisper Wolsey), here makes visitation : 
 
 . . . Let the king know 
 (As soon he shall by me), that thus the cardinal 
 Does buy and sell his honour as he pleases. — Ibid., i. i. 
 
 Yet the king our master 
 (Whose honour Heaven shield from soil ! ), even he escapes not 
 Language unmannerly. — Ibid., i. 2. 
 
 You shall hear 
 (This was his gentleman in trust) of him 
 'Things to strike honour sad. — Ibid., i. 2. 
 
 Neither the king nor's heirs 
 (Tell you the duke) shall prosper. — Ibid., i. 2. 
 
 They must either 
 (Jbor so run the conditions) leave those remnants 
 Of fool and feather, that they got in France, 
 With all their honourable points of ignorance 
 Pertaining thereunto (as fights and fireworks ; 
 Abusing better men than they can be, 
 Out of a foreign wisdom) ; renouncing clean. — Ibid., i. 3. 
 
 I am glad they are going 
 (For, sure, there 's no converting of them) : now. 
 An honest country lord, as I am, beaten 
 A long time out of play. — Ibid., i. 3. 
 
 There are also in this play three instances of a peculiar form of ques- 
 tion occasionally used by Shakespeare ; in which the usually employed 
 word " not " is omitted, and allowed to be elliptically understood: — 
 
 What friend of mine 
 That had to him deriv'd your anger, did I 
 Continue in my liking ? nay, gave [I not] notice 
 He was fi-om thence discharg'd ? — Ibid., ii. 4. 
 
640 THE SHAKESPEARE KEY. 
 
 Which of the peers 
 Have uncontemn'd gone by him, or at least 
 [Have not been] Strangely neglected ? — H. VIII., iii. 2. 
 
 At what ease 
 Might [nof] corrupt minds procure knaves as corrupt 
 To swear against you ? — Ibid., v. i. 
 
 And, finally, in this play " out " is twice peculiarly used : — 
 
 The honourable board of council out [' left out,' ' omitted ']. — Ibid., i. i. 
 Could speak thee oiit ['completely']. — Ibid., ii. 4. 
 
 In the play of " Troilus and Cressida " we meet with a remarkable 
 recurrence of words framed by Shakespeare from classical derivatives, 
 or words used by him in their more strictly classical sense \_See Coined 
 Words]; several instances of words terminating in "ive,'' such as 
 "directive," " persistive," " protractive," " tortive," " unplausive," 
 and " unrespective " ; several instances of the antique form of pos- 
 sessive case, "his" instead of ''s'; and several examples of certain 
 words used in peculiar senses : — • 
 
 This man, lady, hath robbed many beasts of their particular additions [' titles to 
 distinction '] ; he is as valiant as the lion, churlish as the bear, slow as the elephant. — 
 Tr. <&■ Cr., i. 2. 
 
 Bull-bearing Milo his addition [' title of distinction '] yield 
 To sinewy Ajax. — Ibid., ii. 3. 
 We will not name desert before his birth ; and, being born, his addition [' title '] 
 shall be humble. — Ibid., iii. 2. 
 
 I came to kill thee, cousin, and bear hence 
 
 A great addition [' title to distinction '] earned in thy death. — Ibid., iv. 5. 
 Whilst emulation [' envious rivalry'] in the army crept. — Ibid., ii. 2. 
 The obligation of our blood forbids 
 A gory emulation [' contest '] 'twixt us twain. — Ibid., iv. 5. 
 
 A good quarrel to draw emulous ['hostile'] factions and bleed to death upon. — 
 Ibid., ii. 3. 
 
 He is not emulous [' full of arrogant rivalry '] as Achilles is. — Ibid., ii. 3. 
 Whose glorious deeds but in these fields of late, 
 
 Made emulous [' enviously rivalling'] missions 'mongst the gods themselves. 
 And drave great Mars to faction. — Ibid., iii. 3. 
 When yatik [' coarse,' ' gross '] Thersites opes his mastiff jaws. — Ibid., i. 3. 
 How rank [' overgrownly '] so ever rounded in with danger.— /iid., i. 3. 
 
 The seeded pride 
 That hath to this maturity blown up 
 
 In rank [' rampantly arrogant '] Achilles must or now be cropp'd, 
 Or, shedding, breed a nursery of like evil. 
 To overbulk us all. — Ibid., i. 3. 
 
 Thou shouldst not bear from me a Greekish member 
 Wherein my sword had not impressure made 
 Of our rank [' rampant I] feud. — Ibid., iv. 5. 
 
 The play of " Coriolanus " exhibits a prevalence of words elisionally 
 contracted [See Elisional Abbreviations] ; which tends to mark the 
 period of its composition as coeval with the one whereat Shakespeare 
 wrote his " Winter's Tale" and " King Henry VIII." There are also 
 in " Coriolanus " several passages containing instances of indefinitely 
 
RECURRENCE OF PARTICULAR POINTS. 641 
 
 expressed conditional time ; and it presents recurrent token of words 
 used peculiarly and in peculiar senses. For instance, he uses " have" 
 more than once in this play with especial force : — - 
 
 He hath deserved worthily of his country : and his ascent is not by such easy 
 degrees as those who, having been supple and courteous to the people, bonneted, 
 without any farther deed to have them at all into their estimation and report. — 
 Coriol., ii. 2. 
 
 And since the wisdom of their choice is rather to have my hat than my heart, I will 
 practise the insinuating nod, and be off to them most counterfeitly. — Ibid., ii. 3. 
 
 And, in confirmation of our idea that the particular force of " have " 
 was just then in his mind, we observe that he employs in this play an 
 unusual noun framed therefrom : — 
 
 It is held. 
 That valour is the chiefest virtue, and 
 Most dignifies the haver. — Ibid., ii. 2. 
 
 He also uses the word " end," in various passages of this play, with 
 much force of ellipsis : — 
 
 He cannot temperately transport his honours 
 
 From where he should begin, and [to where he should] end; but will 
 
 Lose those he hath won. — Ibid., ii. i. 
 
 It shall be to him, then, as our good wills, 
 
 A sure destruction. — 
 
 So it must fall out 
 To him, or our authorities. For an end [of this sort]. 
 We must suggest the people in what hatred 
 He still hath held them. — Ibid., ii. i. 
 
 He covets less 
 Than misery itself would give ; rewards 
 His deeds with doing them ; and is content 
 To spend the time [thus, as the due mode] to end it. — Ibid., ii. 2. 
 
 Serv'd his designments 
 In mine own person ; holp to reap the fame 
 Which he did end [by making] all his. — Ibid., v. 5. 
 
 In this play, likewise, "enforce" (and, in one instance, "force," as 
 an abbreviation of "enforce") is used to express 'urge' and 'urge 
 against ' : — 
 
 Enforce his pride, 
 And his old hate unto you. — Ibid., ii. 3. 
 In this point charge him home, — that he affects 
 Tyrannical power : if he evade us there. 
 Enforce him with his envy to the people. — Ibid., iii. 3. 
 And when such time they have begun to cry. 
 Let them not cease, but with a din confus'd 
 Enforce the present execution 
 Of what we chance to sentence. — Ibid., iii. 3. 
 Why force you this ? — Ibid,, iii. 2. 
 
 In " Romeo and Juliet " we are struck with the rarity of elliptical 
 sentences ; one of the points in its diction which lead us to believe 
 it to be an early written play of our dramatist. We also find ift it a 
 multitude of conceits, quibbles, and plays on words ; another point ot 
 
 2 T 
 
642 THE SHAKESPEARE KEY. 
 
 Style which marks it as one of Shakespeare's more youthful productions 
 [See Bitter Puns, &c.] The word " earth " is peculiarly used in three 
 passages of this tragedy : — 
 
 Earth hath swallow'd all my hopes but she. 
 
 She is the hopeful lady of my earth. — R. &• yul., i. 2. 
 
 The latter expression giving the doubly included meaning of ' she is 
 the hopeful inheritrix of my landed estates,' and ' she is the sole surviv- 
 ing issue of my body, in whom I have centred all my hopes ' ; because 
 Shakespeare sometimes uses "earth" for 'land' or 'landed posses- 
 sions,' and because he employs "earth" in the two next quoted 
 examples from this play to express ' corporeal part,' ' material part,' ' the 
 earthly portion of a human being ' : — 
 
 Can I go forward when my heart is here ? 
 Turn back dull earth, and find thy centre out. 
 
 [He climbs the wall, and leaps down within it.'] — Ibid., ii. i. 
 Q, break, my heart ! poor bankrupt, break at once ! 
 To prison, eyes, ne'er look on liberty ! 
 Vile earth, to earth resign ; end motion here ; 
 And thou and Romeo press one heavy bier ! — Ibid., iii. 2. 
 
 The rather uncommon verb " prorogue" (which Shakespeare in only 
 two other plays uses, introducing it but once in each of them, and then 
 in a different sense from the one in which he here employs it) is twice 
 employed in the present play to express ' delay,' ' defer,' ' put off,' 
 ' postpone ' : — 
 
 My life were better ended by their hate, 
 
 Than death prorogued, wanting of thy love. — Ibid., ii. 2. 
 
 I hear thou must, and nothing may prorogue it, 
 
 On Thursday next be married to this county. — Ibid., iv. i. 
 
 In " Timon of Athens " we have remarked a recurrent use of " to " 
 and "to be " in passages where the construction is peculiar and 
 rendered somewhat obscure by the mode in which these words are in- 
 troduced ; as, for instance : — 
 
 But [it is requisite] to support him after, — Timon, i. i. 
 
 Nor has he with him [wherewith] to supply his life. — Ibid., iv. 2. 
 
 Who would be so mock'd with glory ? or to [' who would '] live 
 
 But in a dream of friendship ? 
 
 To [' who would '] have his pomp, and all what state compounds. 
 
 But only painted, like his varnish'd friends ? — Ibid., iv. 2. 
 
 That I had no angry wit to be [' by being '] a lord.* — Ibid., i. i. 
 
 Was [created] to be so unwise, [and yet] to be so kind. — Ibid., ii. i. 
 
 And also three instances in one scene, of " when " being elliptically 
 understood [See Elliptic.\l Style]. 
 
 In "Julius Caesar" we find an idiomatic phrase (signifying ' bear a 
 
 * This sentence has been suspected of error, and has been variously altered ; but, 
 we think, other similarly constructed sentences used by Shakespeare show this one to 
 be correct as it stands, and that it bears the double signification of ' that being a lord, 
 I should have no angry wit,' and ' that I had given up (Apemantus's) angry wit in 
 order to be a lord.' 
 
RECURRENCE OF PARTICULAR POINTS. 643 
 
 hard opinion of,' ' bear ill-will,' ' bear a grudge ') thrice repeated, which 
 is used nowhere else by Shakespeare : — 
 
 Csesar doth, bear me hard ; but he loves Brutus. — Jul. C, i. 2. 
 Caius Ligarius doth bear Ccssar hard. — Ibid., ii. i. 
 I do beseech ye, if you bear me hard. — Ibid., iii. i. 
 
 We also meet herein with three instances of " but" used peculiarly 
 and transposedly : the first phrase signifying, ' Where none but Brutus 
 may find it ' ; the second ' Do but send him hither ' ; and the third, ' Do 
 but pluck his name out of his heart ' : — 
 
 Take this paper, 
 And look you lay it in the praetor's chair. 
 Where Brutus may but find it. — Ibid., i. 3. 
 Send him but hither, and I '11 fashion him. — Ibid., ii. i. 
 
 It is no matter, his name 's Cinna ; pluck but his name out of his heart, and turn 
 him going. — Ibid., iii. 3. 
 
 In this play likewise the words " constancy " and " constant " are 
 repeatedly used to express 'self-possession,' 'firmness,' 'steadiness,' 
 and ' self-possessed,' ' firm,' ' steady' : — 
 
 But bear it as our Roman actors do. 
 
 With untir'd spirits and formal constancy. — Ibid., ii. i. 
 
 I have made strong proof of my constancy. 
 
 Giving myself a voluntary wound 
 
 Here, in the thigh : can I bear that with patience. 
 
 And not my husband's secrets ? — Ibid., ii. i. 
 
 O, constancy, be strong upon my side, 
 
 Set a huge mountain 'tween my heart and tongue ! — Ibid., ii. 4. 
 
 Cassius, be constant : 
 Popilius Lena speaks not of our purposes. — Ibid., iii. i. 
 But I am constant as the northern star. 
 Of whose true-fix'd and resting quality 
 There is no fellow in the firmament . . . 
 Let me a little show it, even in this, — 
 That I was constant Cimber should be banish'd, 
 And constant do remain to keep him so. — Ibid., iii. i. 
 
 " Slight" is twice used in this drama as an epithet of contempt: — 
 
 This is a slight unmeritable man. — Ibid., iv. i. 
 Away, slight man ! — Ibid., iv. 3. 
 
 There are three allusions in this play to time by the clock, which of 
 course has subjected Shakespeare to the charge of anachronism [See 
 Alleged Discrepancies, &c.]. But not only was the impression of 
 current time evidently strong in the author's mind while he wrote this 
 piece, it was also imperatively requisite that he should maintain the 
 impression of present dramatic time well before the imagination of his 
 audience, in order to counterbalance the effect of prolonged dramatic 
 time, which it was incumbent upon him to give for the due lapse of 
 events between the opening and the close of the play [See Dramatic 
 Time] : — 
 
 Peace ! count the clock. — 
 
 The clock hath stricken three. — Ibid., ii. i. 
 
 2 T 2 
 
644 THE SHAKESPEARE KEY. 
 
 What is 't o'clock ?— 
 
 Cssar, 'tis strucken eight. — ^ul. C, ii. 2. 
 Set our battles on : 
 'Tis three o'clock ; and, Romans, yet ere night 
 We shall try fortune in a second fight. — Ibid., v. 3. 
 
 In "Macbeth" there is a notable prevalence of compound words 
 and of simply plain common words in even some of the most strikingly 
 grand passages [See Familiar and Homely Expressions]. There are 
 also several instances of the word " even " elliptically understood [See 
 Elliptical Style]. 
 
 There are to be observed in the tragedy of " Hamlet" a recurrence of 
 words punningly used, and of scraps of doggerel verse : both of which, 
 however, are attributable to the peculiar mental condition of the hero, 
 whose assumed madness and veritable melancholy take these means of 
 venting their many wayward moods. The first words uttered by 
 Hamlet contain a pun : — 
 
 A little more than kin, and less than kind. — Hamlet, i. 2. 
 
 And the next speech, of a single line : — 
 
 Not so, my lord ; I am too much i' the sun. — Ibid., i. 2. 
 
 And so on, throughout the play : — 
 
 Excellent well, you are 3^ fish-monger. — Ibid., ii. 2. 
 
 All which, sir, though I most powerfully and potently believe, yet I hold it not 
 honesty to have it thus set down. — Ibid., ii. 2. 
 
 What should we say, my lord ? — 
 Why, anything — but to the purpose. — Ibid., ii. 2. 
 Nay, then, / have an eye of you. — Ibid., ii. 2. 
 
 O, my old friend ! thy face is valanced since I saw thee last ; comest thou to beard 
 me in Denmark ? — Ibid., ii. 2. 
 
 Pray Heaven, your voice, like n. piece of uncurrent gold, be not cracked within the 
 ring. — Ibid., ii. 2. 
 
 Why should the poor be flatter'd ? 
 No, let the candied tongue lick absurd pomp. — Ibid., iii. 2. 
 I did enact Julius Csesar ; I was killed i' the Capitol ; Brutus killed me. — It was a 
 brute part of him to kill so capital a calf there. — Ibid., iii. 2. 
 
 Nay, then, let the devil wear black, for I '11 have a suit Disables. — Ibid., iii. 2. 
 To withdraw with you: Why do you go about to recover the wind of me, as if you 
 would drive me into a toil? — Ibid., iii. 2. 
 
 Call me what instrument you will, though you can fret me, you cannot play upon 
 me. — Ibid., iii. 2. 
 
 Indeed, this counsellor 
 Is now most still, most secret, and most grave. 
 Who was in life a foolish prating knave. — Ibid., iii. 4. 
 The body is with the king, but the king is not with the body. — Ibid., iv. 2. 
 A certain convocation of politic worms are e'en at him. — Ibid., iv. 3. 
 This might be the pate of a politician, which this ass now o'er-reaches. — Ibid., v. i. 
 Why may not that be the skull of a lawyer ? . . . Why does he suffer this rude 
 knave now to knock him about the sconce with a dirty shovel, and will not tell him of 
 his action of battery ? . . . The very length of his lands will hardly lie in this box ; 
 and must the inheritor himself have no more, ha ? — Ibid., v. i. 
 They are sheep and calves which seek out assurance in that. — Ibid., v. i. 
 
RECURRENCE OF PARTICULAR POINTS. 645 
 
 Thou dost lie in 't, to be in 't and say it is thine : 'tis for the dead, not for the quick ; 
 therefore thou liest. — Hamlet, v. i. 
 
 Give us the foils. Come on. — 
 
 Come, one for me. — 
 I '11 be yourfoil, Laertes : in mine ignorance 
 Your skill shall, like a star i' the darkest night, 
 Stick fiery off indeed. — Ibid., v. 2. 
 Here, thou incestuous, murderous, damned Dane, 
 Drink off this potion : — is thy union here ? 
 Follow my mother. — Ibid., v. 2. 
 
 Not only does Hamlet occasionally doggerelise, as if he were quoting 
 scraps from some remembered popular rhyme or verse ; but he some- 
 times lapses into a rhyming couplet amid his own blank-verse 
 speeches : — 
 
 But I have that within which passeth show ; 
 
 These but the trappings and the suits of woe. — Ibid., i. 2. 
 
 The time is out of joint: — 0, cursed spite. 
 
 That ever I was bom to set it right J — Ibid., i. 5. 
 
 As hell whereto it goes. My mother stays : 
 
 This physic but prolongs thy sickly days. — Ibid., iii. 3. 
 
 A bloody deed ! Almost as bad, good mother. 
 
 As kill a king, and marry with his brother. — Ibid., iii. 4. 
 
 I must be cruel, only to be kind : 
 
 Thus bad begins, and worse remains behind.— Ibid., iii. 4. 
 
 Is now most still, most secret, and most grave. 
 
 Who was in life a foolish prating knave. — Ibid., iii. 4. 
 
 The passages where the prince seems to be repeating quoted scraps 
 are these : — 
 
 Then came each actor on his ass. — Ibid., ii. 2. 
 
 One fair daughter, and no more. 
 
 The which he loved passing well. — Ibid., ii. 2. 
 
 As by lot, God wot.— Ibid., ii. 2. 
 
 It came to pass, as most like it was. — Ibid., ii. 2. 
 
 Why, let the strucken deer go weep. 
 The hart ungalled play ; 
 
 For some must watch, while some must sleep ; 
 So runs the world away. — Ibid., iii. 2. 
 
 For thou dost know, O Damon dear. 
 This realm dismantled was 
 
 Of Jove himself; and now reigns here 
 A very, very — peacock. — Ibid., iii. 2. 
 For if the king like not the comedy, 
 Why, then, belike, — he likes it not, perdy. — Ibid., iii. 2. 
 Imperial Cssar, dead and turn'd to clay. 
 Might stop a hole to keep the wind away : 
 O that that earth, which kept the world in awe. 
 Should patch a wall t' expel the winter's flaw ! — Ibid., v. i. 
 Let Hercules himself do what he may, 
 The cat will mew, the dog will have his day. — Ibid., v. i. 
 
 Even in his letter to Ophelia, Hamlet (in accordance with an antique 
 fashion for lovers) addresses his mistress partly in doggerel verse : — 
 
646 THE SHAKESPEARE KEY. 
 
 Doubt thou the stars are fire ; 
 Doubt that the sun doth move ; 
 Doubt truth to be a liar ; 
 But never doubt I love. — Hamlet, ii. 2. 
 
 There is also a recurrence of iterated words in the present play [See 
 Iterated Words]; which is likewise referable to a characteristic point 
 of diction in the prince, who makes this one token of the mental 
 derangement which he assumes. 
 
 Certain words are, more than once during the five acts, used in 
 peculiar and various senses : — 
 
 It is a nipping and an eager [' sharp,' ' keen '] air. — Ibid., i. 4. 
 
 And, with a sudden vigour, it doth posset 
 
 And curd, like eager [' sharp;' ' acid,' ' sour '] droppings into milk, the thin and 
 wholesome blood : so did it mine. — Ibid., i. 5. 
 
 Season [' temper,' ' modify '] your admiration for a while 
 With an attent ear. — Ibid., i. 2. 
 
 Farewell : my blessing season [' temper,' 'turn to profit'] this in thee ! — Ibid., i. 3. 
 
 My lord, that would dishonour him. — 
 
 Faith, no ; as you may season [' temper,' ' qualify'] it in the charge. — Ibid., ii. i. 
 
 And who in want a hollow friend doth try, 
 
 Directly seasons him [' tempers him into,' ' moulds him into ' ; also including the 
 sense of ' inures, habituates, or accustoms him to become '] his enemy. — Ibid., iii. 2. 
 
 In "King Lear" are observable a recurrence of double compara- 
 tives ; an unusual number of interrupted speeches [See Unfinished 
 Sentences] ; a marked frequency of compound epithets ; and several 
 instancesof verbs formed from nouns [See Parts of Speech Diversely 
 Used]. Also, there are in this tragedy a few words peculiarly em- 
 ployed : — 
 
 Am I in France ? — 
 
 In your own kingdom, sir. — 
 Do not abuse [' delude '] me. — Lear, iv. 3. 
 He is attended with a desperate train ; 
 And what they may incense him to, being apt 
 
 To have his ear abus'd [' beguiled '], wisdom bids fear. — Ibid., ii. 4. 
 Then Edgar was abus'd [' slandered,' ' falsely accused ']. — Ibid., iii. 7. 
 
 Ah ! dear son Edgar, 
 The food of thy abused [' deceived '] father's wrath I — Ibid., iv. i. 
 
 O, you kind gods. 
 
 Cure this great breach in his abused [' ill-used,' ' injured '] nature ! — Ibid., iv. ;. 
 I am mightily abus'd ['bewildered,' 'perplexed']. — Ibid., iv. 7. 
 That thought abuses [' deceives,' ' wrongs '] yoa.— Ibid., v. i. 
 
 For equalities are so weighed, that curiosity [' carefullest scrutiny '] in neither can 
 make choice of either's moiety. — Ibid., i. i. 
 
 Wherefore should I 
 Stand in the plague of custom, and permit 
 
 The curiosity [' scrupulousness,' ' punctiliousness '] of nations to deprive me, 
 For that I am some twelve or fourteen moonshines 
 Lag of a brother? Why bastard? wherefore base ? — Ibid., i. 2. 
 I have perceived a most faint neglect of late ; which I have rather blamed as mine 
 own jealous curiosity [' susceptible punctilio,' ' over-scrupulous care for deference '] 
 than as a very pretence and purpose of unkindness. — Ibid., i. 4. 
 
RECURRENCE OF PARTICULAR POINTS. 647 
 
 Servants, who seem no less, 
 Which are to France the spies and speculations 
 
 Intelligent* [' aware ' and ' communicative '] of our state. — Lear, iii. i. 
 This is the letter he spoke of, which approves him an intelligent [' informed ' and 
 ' communicative '] party to the advantages of France. — Ibid., iii. 5. 
 
 Our posts shall be swift and intelligent [' communicative of intelligence,' ' conveyant 
 of intelligence 'J betwixt us. — Ibid., iii. 7. 
 
 In " Othello," there are recurrent instances of words ending in ' ce ' 
 and ' te ' : — 
 
 Not with vain thanks, but with acceptance bounteous. — 0th., iii. 3. 
 If this be known to you, and your allowance. — Ibid., i. i. 
 Of very expert and approv'd allowance. — Ibid., ii. i. 
 For every minute is expectancy 
 Of more arrivance. — Ibid., ii. i. 
 What needs this iterance, woman ? — Ibid., v. 2. 
 Out of his scattering and unsure observance. — Ibid., iii. 3. 
 
 That we should, with joy, pleasance, revel, and applause^ transform ourselves into 
 beasts ! — Ibid., ii. 3. 
 
 This sight would make him do a desperate turn. 
 
 Yea, curse his better angel from his side. 
 
 And fall to reprobance. — Ibid., v. 2.. 
 
 But I shall, in a more continuate time. 
 
 Strike off this score of absence. — Ibid., iii. 4. 
 Wherein none can be so determinate as the removing of Cassio. — Ibid., iv, 2. 
 To such exsufflicate and blown surmises. — Ibid., iii. 3. 
 
 In this play we find " to do " twice used for ' ado ' : — 
 
 To have so much to do. 
 To bring him in ! — Ibid., iii. 3. 
 
 I have much to do. 
 But to go hang my head all at one side. — Ibid., iv. 3. 
 
 And we meet with two instances of " trash " used as a contemptuous 
 epithet : — 
 
 If this poor trash of Venice. — Ibid., ii. i. 
 
 Gentlemen all, I do suspect this trash 
 To be a party in this injury. — Ibid., v. i. 
 
 Then, too, we have several examples of words used in peculiar 
 senses : — 
 
 After some time to abuse [' misinform '] Othello's ear 
 That he is too familiar with his wife. — Ibid., i. 3. 
 I '11 have our Michael Cassio on the hip ; 
 
 Abuse [' misrepresent '] him to the Moor in the rank garb. — Ibid., ii. i. 
 If you think other. 
 Remove your thought ; it doth abuse [' deceive ' ' \VTong '] your bosom. — Ibid., iv. 2. 
 That there be women do abuse [' betray,' ' wrong 'J their husbands 
 In such gross kind ? — Ibid., iv. 3. 
 
 Are there not charms. 
 By which the property of youth and maidhood 
 May be abused [' deluded,' 'injured '] ? — Ibid., i. i. 
 
 ' See Elliptically Used Words for farther explanation of this word. 
 
648 THE SHAKESPEARE KEY. 
 
 That thou hast practis'd on her with foul charms ; 
 
 Abns'd [' injured,' ' deluded '] her delicate youth with drugs or minerals 
 
 That weaken motion. — Otk., i. 2. 
 
 She is abus'd [' deluded,' ' injured '], stol'n from me, and corrupted 
 
 By spells and medicines bought of mountebanks. — Ibid., i. 3. 
 
 Her delicate tenderness will find itseU abused [' beguiled']. — Ibid., ii. i. 
 
 I would not have your free and noble nature, 
 
 Out of self-bounty, be abus'd [' cheated,' ' beguiled ']. — Ibid., iii. 3. 
 
 She's gone ; I am abus'd [' betrayed,' ' beguiled '] ; and my relief 
 
 Must be to loathe her. — Ibid., iii. 3. 
 
 I swear, 'tis better to be much abus'd [' deceived,' ' injured '] , 
 
 Than but to know't a little. — Ibid., iii. 3. 
 The Moor's abus'd [' deceived,' ' deluded '] by some most villainous knave. — 
 Ibid., iv. 2. 
 
 I therefore apprehend and do attach thee 
 
 For an abuser [' injurer,' ' impostor '] of the world, a practiser 
 
 Of arts inhibited and out of warrant. — Ibid., i. 2. 
 For, I do know, the state, — 
 
 However this may gall him with some check, — ■ 
 
 Cannot with safety cast [' cashier '] him. — Ibid., i. i. 
 Our general cast ['dismissed'] us thus early for the love of his Desdemona. — 
 Ibid., ii. 3. 
 
 You are but now cast [' cashiered '] in his mood. — Ibid., ii. 3. 
 
 How he upbraids lago, that he made him 
 
 Brave me upon the watch ; whereon it came 
 
 That I was cast [ ' cashiered ']. — Ibid., v. 2. 
 
 What a./itll [' plenarily good,' ' complete'] fortune does the thick-lips owe. 
 
 If he can carry 't thus ! — Ibid., i. i. 
 
 For I have serv'd him, and the man commands 
 
 Like a full ['fully accomphshed,' 'complete'] soldier. — Ibid., ii. i. 
 Is this the noble Moor whom our full [' complete,' ' entire,' and ' fully competent to 
 judge'] senate 
 
 Call all-in-all sufficient ? — Ibid., iv. i. 
 
 The verb " affin'd" is used in this play twice, and in no other, ex- 
 cepting once in " Troilus and Cressida " ; while the noun "affinity' 
 occurs nowhere else than in the present tragedy : — 
 
 Now, sir, be judge yourself. 
 Whether I in any just term am affin'd 
 To love the Moor. — Ibid., i. i. 
 If partially affin'd, or leagu'd in office. 
 Thou dost deliver more or less than truth. 
 Thou art no soldier. — Ibid., ii. 3. 
 
 The Moor replies. 
 That he you hurt is of great fame in Cyprus 
 And great affinity. — Ibid., iii. i. 
 
 We find in " Antony and Cleopatra " various recurrent features of 
 style : marked condensation in the diction with elliptical force of con- 
 struction [See Elliptical Style] ; more than one instance of " he," 
 "him," and "his" used in abstract; frequent employment of a turn 
 of phrase which resembles one used in Italy [See Italian Idiom] ; 
 and several sentences where "but" is used exceptively. The peculiar 
 expressions " discandy " and " discandying " are introduced by 
 Shakespeare into no play besides the present one : — 
 
RECURRENCE OF PARTICULAR POINTS. 649 
 
 The hearts 
 That spaniel'd me at heels, to whom I gave 
 Their wishes, do discandy, melt their sweets 
 On blossoming Caesar. — Ant. &• C, iv. 10. 
 Together with my brave Egyptians all, 
 By the discandying of this pelleted storm. 
 Lie graveless. — Ibid., iii. 11. 
 
 The play of " Cymbeline " abounds with contracted forms of words 
 [See Elisional Abbreviations] and with extremely condensed phraseo- 
 logy [See Elliptical Style]. There are several passages where the 
 pronoun is varied in the same sentence when referring to the same 
 antecedent ; there are three passages where " sir " is used as a noun ; 
 and there are some sentences where " for " is peculiarly used in this 
 play. 
 
 In " Pericles ' there is a marked introduction of antiquated words 
 and of words with the final syllable "en," such as " killen," " lien," 
 " perishen," and " thoughten." 
 
 There are some vestiges of coincident thought and style in certain 
 plays by Shakespeare that seem to denote his having written the pro- 
 ductions bearing these tokens of similarity at the same period of his 
 career. For instance, we find the word " defeature " in " Venus and 
 Adonis " (stated by himself, in his preface to this poem, to be " the first 
 heir of my invention "), and the word " defeatures " twice in the 
 " Comedy of Errors " (evidently an early composition), but in no other 
 of his plays : — 
 
 To mingle beauty with infirmities, 
 
 And pure perfection with impure defeature. — V. &• Adon., Stanza 123. 
 
 Then is he the ground of my defeatures. — Com. of E., ii. i. 
 
 And careful hours, with Time's deformed hand. 
 
 Have written strange defeatures in my face. — Ibid., v. i. 
 
 The contracted plural form of " corse'" for ' corses,' and the unusual 
 form of " strond " for ' strand ' occur in both the opening scenes of the 
 two Parts of " King Henry IV.," and in no other of his dramas : — 
 
 A thousand of his people butchered ; 
 
 Upon whose dead corse' there was such misuse. — i. H. IV., i. i. 
 
 My lord, your son had only but the corse'. 
 
 But shadows, and the shows of men, to fight. — 2 H. IV., i. i. 
 
 To be commenc'd in strands afar remote. — i H. IV., i. i. 
 
 So looks the strond, whereon th' imperious flood 
 
 Hath left a witness'd usurpation. — 2 H. IV., i. i. 
 
 There are evidences of special coincident points in the " Second Part 
 of King Henry IV.," and in the comedy of " Much Ado About Nothing " ; 
 and singularly enough as regards our theory, the entry in the Registers 
 of the Stationers' Company makes mention of both these plays together : 
 " 23 Aug: 1600. And. Wise. Wm. Apsley] Two books, the one called 
 - Muche Adoe about Nothing,' and the other, ' The Seconde Parte of 
 the History of King Henry IIII., with the Humours of Sir John 
 Falstaff : wrytten by Mr. Shakespeare." Farthermore, two of these 
 special coincident points coexist in an evidently early written play by 
 
650 THE SHAKESPEARE KEY. 
 
 our dramatist, " Love's Labour's Lost," and one of the two in still 
 another early written play, " Romeo and Juliet " ; but in no other of 
 his dramas. One of these points is an allusion to the custom of en- 
 graving or carving figures on an " agate " ; the other is in reference to 
 a particular fashion of wearing-apparel, called a " slop" or " slops," 
 which were large loose trousers : — 
 
 If low, an agate very vilely cut. — M. Ado, iii. i. 
 
 His heart, like an agate, with your print impress d. — Love's L. L., ii. i. 
 
 I was never manned with an agate till now. — 2 H. IV., i. 2. 
 
 A German from the waist downward, all slops. — M. Ado, iii. 2. 
 O, rhymes are guards on wanton Cupid's hose : 
 Disfigure not his slop. — Love's L. L., iv. 3. 
 
 What said Master Dumbleton about the satin for my short cloak and my slops ? — 
 2 H. IV., i. 2. 
 
 Signior Romeo, bon jour ! there 's a French salutation to your French slop. — 
 R. &■ Jul., ii. 4. 
 
 In "Romeo and Juliet" there are some signal tokens of Shakespeare's 
 correspondent mode of thinking at the time he wrote this tragedy and 
 at the time he wrote the play of " Love's Labour's Lost." One is a 
 recurrent allusion to books as a figurative illustration of human looks : — 
 
 Study his bias leaves, and makes his book thine eyes. — Love's L. L., iv. 2 (Verses). 
 From women's eyes this doctrine I derive, — 
 They are the ground, the books, the academes. 
 From whence doth spring the true Promethean fire. . . . 
 They are the books, the arts, the academes. 
 That show, contain, and nourish all the world. — Ibid., iv. 3. 
 Read o'er the volume of young Paris' face. 
 And find delight writ there with beauty's pen ; 
 Examine every married lineament. 
 And see how one another lends content ; 
 And what obscur'd in this fair volume lies. 
 Find written in the margin of his eyes. 
 This precious book of love, this unbound lover. 
 To beautify him, only lacks a cover ; 
 The fish lives in the sea ; and 'tis much pride. 
 For fair without the fair within to hide. 
 That book in many's eyes doth share the glory, 
 That in gold clasps locks in the golden story. — R. &• yul., i. 3. 
 Was ever book containing such vile matter, 
 So fairly bound ? — Ibid., iii. 2. 
 
 Another similar point in these two plays is the heaping up of hyper- 
 bolical and antithetical expressions : — 
 
 This wimpled, whining, purblind, wayward boy ; 
 
 This senior-junior, giant-dwarf, Dan Cupid ; 
 
 Regent of love-rhymes, lord of folded arms, 
 
 Th' anointed sovereign of sighs and groans, 
 
 Liege of all loiterers and malcontents. 
 
 Dread prince of plackets, king of cod-pieces. 
 
 Sole imperator and great general 
 
 Of trotting paritors. — Love's L. L., iii. i. 
 
 Here 's much to do with hate, but more with love : — 
 
 Why, then, O brawling love ! loving hate I 
 
 O anything, of nothing first create! 
 
 heavy lightness ! serious vanity ! 
 
RECURRENCE OF PARTICULAR POINTS. 651 
 
 Mis-shapen chaos of well-seeming forms ! 
 
 Feather of lead, bright smoke, cold fire, sick health ! 
 
 Still-waking sleep, that is not what it is ! 
 
 This love feel I, that feel no love in this. — R. &- Jul., i. i. 
 
 O, serpent heart, hid with a flowering face ! 
 
 Did ever dragon keep so fair a cave ? 
 
 Beautiful tyrant ! fiend angelical ! 
 
 Dove-feather'd raven ! wolvish-ravening lamb ! 
 
 Despised substance of divinest show ! 
 
 Just opposite to what thou justly seem'st, 
 
 A damned saint, an honourable villain ! 
 
 0, nature ! what hadst thou to do in hell. 
 
 When thou didst bower the spirit of a fiend 
 
 In mortal paradise of such sweet flesh ? — Ihid., iii. 2. 
 
 There is also a seemingly trivial point of coincidence in these two 
 plays : but, joined with other concurrent particulars, it seems to us sig- 
 nificant. It is that in these two plays alone has Shakespeare used the 
 woman's name of " Rosaline ;" but in both plays he has assigned it to 
 characters bearing points of personal and even dispositional resem- 
 blance. Rosaline in " Love's Labour's Lost" appears to us to be the 
 finished picture of which Rosaline in " Romeo and Juliet" is but the 
 outlined sketch; Rosaline in "Love's Labour's Lost" is the most 
 highly wrought female figure on that dramatic canvas, while Rosaline 
 in " Romeo and Juliet " is merely mentioned, not seen, though limned 
 with distinct touches, and brought vividly before our mental vision. 
 Rosaline in " Love's Labour 's Lost " is emphatically stated to be a dark 
 beauty, with exquisitely beautiful and expressive eyes. \See passage 
 quoted at page 478.] 
 
 Even when Biron, vexed at being unable to resist his passion for 
 her, attempts to disparage her charms, he uses an expression that pre- 
 cisely describes a dark beauty whose skin looks dazzlingly fair by con- 
 trast with her pencilled brows and brilliantly black eyes : — 
 
 And, among three, to love the worst of all ; 
 
 A whitely wanton with a velvet brow. 
 
 With two pitch balls stuck in her face for eyes. — Love's L. L., iii. i. 
 
 And the expressions employed by Mercutio when speaking of Rosaline 
 in " Romeo and Juliet " tally remarkably with the above : — 
 
 Ah ! that suTaepaU hard-hearted wench, that Rosaline, 
 Torments him so, that he will sure run mad. . . . 
 Alas, poor Romeo, he is already dead ! stabbed with a white wench's black eye. — 
 R. &■ Jul., ii. 4. 
 
 Rosaline in " Love's Labour's Lost " is proof against the solicitations 
 of her admirer, and dooms him to a twelvemonth's severe probation in 
 absence and hard service ; while Rosaline in " Romeo and Juliet " is 
 deaf to her lover's suit, repels all his advances with rigour, and is called 
 by his friend " hard-hearted." We have always had the strong impres- 
 sion that both the highly painted portrait of Rosaline in " Love's Labour's 
 Lost " and the sketched delineation of Rosaline in " Romeo and Juliet " 
 were taken from one and the same life-original — some lady known to 
 him ; and, to our thinking, probably likewise identical with the dark 
 
652 THE SHAKESPEARE KEY. 
 
 beauty so graphically described in Sonnets 127, 130, 131, 132. In this 
 last-named Sonnet we have again presented to our beholding the indi- 
 vidual bright-eyed, dark-complexioned, pitiless-hearted charmer that he 
 depicted in the two dramatic portraitures. \_See passage quoted at 
 page 479.] 
 
 RELATIVELY USED PRONOUNS. 
 
 Shakespeare often uses a pronoun in reference to some person or 
 thing not precisely stated, but in reference to an implied particular: — 
 
 If the French be lords of this loud da", he [the Dauphin : implied in "the French"] 
 means to recompense the pains you take. — yohn, v. 4. 
 
 His second marriage shall be publish 'd, and her [the lady he is going to marry : 
 implied in "his second marriage"] coronation. — H. VIII., iii. 2. 
 
 And bid me, when my fate would have me wive, to give it her [my wife : implied in 
 " wive "]. — 0th., iii. 4. 
 
 The ears are senseless that should give us hearing, to tell him [the king: implied in 
 " the ears "] his commandment is fulfiU'd. — Hamlet, v. 2. 
 
 What ! all so soon asleep ? I wish mine eyes would. . . . Do not omit the heavy 
 offer of it [sleep : implied in "asleep "]. — Temp., ii. i. 
 
 If you are arm'd to do, as sworn to do, subscribe to your deep oaths, and keep it 
 [that which you have " sworn to do"] too. — Love's L. L., i. i. 
 
 I know not why I am so sad : it [sadness : implied in " sad "] wearies me : you say 
 it wearies you. — Mer. of V., i. i. 
 
 All my plots and purposes, how to get clear of . . . let me know it [your plan : 
 implied in " plots and purposes, how to "]. — Ibid., i. i. 
 
 You are lov'd, sir : they that least lend it [love : implied in " lov'd"] you, shall lack 
 you first. — All's W., i. 2. 
 
 Most it [the impression collectively produced by " the celestial habits," &c.] caught 
 me, the celestial habits . . . and the reverence of the grave wearers. — W. T., iii. i. 
 
 If your father had been victor there, he ne'er had borne it [the honour of being 
 " victor ■'] out of Coventry. — 2 H. IV., iv. i. 
 
 Who are the late commissioners ? — I one, my lord : your highness bade me ask for 
 it [commission : implied in " commissioners "] to-day. — H. V., ii. 2. 
 
 Her father . . . hath pawn'd the Sicils and Jerusalem, and hither have they sent 
 it [the sum raised by having " pawn'd " &c.] for her ransom. — 3 H. VI., v. 7. 
 
 Be not easily won to our requests ; play the maid's part, — still answer nay, and take 
 it [that of which " requests " beg acceptance]. — R. III., iii. 7. 
 
 No doubt we bring it [the concerted scheme implied in the previous dialogue]. — 
 Ibid., iii. 7. 
 
 I wish the bastards dead ; and I would have it [the deed implied in the previous 
 wish] suddenly perform'd. — Ibid., iv. 2. 
 
 If I chance to talk a little wild, forgive me ; I had it [the trick of talking " a little 
 wild "] from my father.— H. VIII., i. 4. 
 
 The king loves you ; beware you lose it [the king's love: implied in " the king loves 
 you "] not. — Ibid., iii. i. 
 
 Till I find more than will or words to do it [the fulfilment of your malicious com- 
 mand that I should " render up the great seal "] . . . I dare and must deny it. — 
 Ibid., iii. 2. 
 
 How eagerly ye follow my disgraces, as if it [the sight of " my disgraces "] fed ye ! 
 — Ibid., iii. 2. 
 
RELATIVELY USED PRONOUNS. 653 
 
 Oh, these encounterers, so glib of tongue, that give a coasting welcome ere it 
 [amorous encounter; implied in "encounterers '] comes. — Tr. &• Cr., iv. 5. 
 
 Time will one day end it [this uncertainty as to the issue of the war]. — So to him 
 we leave it. — Ibid., iv. 5. 
 
 It [the concession made to " the rabble " in having." granted them five tribunes "] 
 will in time win upon power, and throw. — CorioL, i. i. 
 
 He has it [the consulship: implied in the previous dialogue] now; and, by his looks, 
 methinks 'tis warm at his heart. — Ibid., ii. 3. 
 
 He 's gone, and we '11 no farther ... let us seem humbler after it [his banishment : 
 implied in " he 's gone "] is done, than when it was a-doing. — Ibid., iv. 2. 
 
 He that hath a will to die by himself fears it [death : implied in " to die "] not from 
 another. — Ibid., v. 2. 
 
 If not most mortal to him. But let it [death : implied in " mortal "] come. — 
 Ibid., V. 3. 
 
 Love you the maid ? Ay, my good lord ; and she accepts of it [my love : implied in 
 " love you "]. — Timon, i. i. 
 
 It [the prevention of Caesar's becoming king: implied in the remainder of the 
 soliloquy] must be by his death. — ful. C, ii. i. 
 
 When I ask'd you what the matter was, you stared upon me with . . . hoping it 
 [that which ails you: implied in " ask'd you what the matter was "] was but an effect of 
 humour . . . It will not let you eat, nor talk, nor sleep : and, could it work so much 
 upon your shape, as it hath. — Jul. C, ii. i. 
 
 Than your particular demands will touch it [the " enquiry " respecting " his 
 behaviour'']. — Hamlet, ii. i. 
 
 If she should break it [her vow : implied in the previous speech] now ! — Tis deeply 
 sworn. — Ibid., iii. 2. 
 
 The present death of Hamlet. Do it [this deed : implied in " death of Hamlet"], 
 England . . . till I know 'tis done. — Ibid., iv. 3. 
 
 Goes it [military expedition : implied in " powers " sent " against some part of 
 Poland"] against the main. — Ibid., iv. 4. 
 
 He hath borne me on his back a thousand times ; and now how abhorred in my 
 imagination it [the idea of having been " borne on" the "back," and having "kissed" 
 the " lips " of one whose fleshless skull is now in the speaker's hand] is ! my gorge 
 rises at it. — Ibid., v. i. 
 
 It must be shortly known to him from England. . . . It [the period ere " it must 
 be known "] will be short. — Ibid., v. 2. 
 
 I '11 not endure it [this suspicion : implied in the context]. — I do repent me that I 
 put it to you. — 0th., iii. 3. 
 
 But entertain it [my proposal : implied in the context], and, though thou think me 
 poor. — Ant. &• C, ii. 7. 
 
 To him again : tell him he wears the rose of youth. ... I '11 write it [this that I 
 had told you to " tell him "] ; follow me. — Ibid., iii. 11. 
 
 For thee, fellow, who needs must know of her departure . . . we'll enforce it 
 [confession of the knowledge of her departure : implied in " know of her departure "] 
 from thee by a sharp torture. — Cytn., iv. 3. 
 
 You snatch some hence for little faults ; that 's love, to have them fall no more : you 
 some permit to second ills with ills, each elder worse, and make them dread it [sudden 
 punishment for crime (implied in " snatch some hence") and a long course of sin : 
 implied in " to second ills with ills"], to the doer's thrift. — Ibid., v. i. 
 
 On either side I come to spend my breath, which neither . . . but end it [my life : 
 implied in " my breath "] by some means. — Ibid., v. 3. 
 
 That box I gave you . . . It [the drug within the "box": the contents implied 
 by that which contained them] poison'd me. — Ibid., v. 5. 
 
 It [our sense of being treated by Helicanus with less confidence than Escanes : 
 implied in the previous speech ] shall no longer grieve without reproof. — And curs'd be 
 he that will not second it [our intended " reproof"]. — Per., ii. 4. 
 
654 THE SHAKESPEARE KEY. 
 
 Well, I commend her choice: and will no longer have it [the marriage: implied in 
 "her choice"] be delayed. — Per., ii. 5. 
 
 Here comes my daughter, she can witness it [the truth of what I have asserted]. — 
 Ibid., ii. 5. 
 
 That she is dead. Nurses are not the fates, to foster it [life : implied in " she is 
 dead "], nor ever to preserve. — Ibid., iv. 4. 
 
 Yet long'st, — but in a fainter kind : O, not like me ; for mine [my longing ; implied 
 in " long'st "] 's beyond beyond. — Cym., iii. 2. 
 
 The moment on 't [the deed implied in the context] ; for 7 must be done to-night. — 
 Macb., iii. i. 
 
 They can well on horseback : but this gallant had witchcraft in 't [horsemanship ; 
 implied in " horseback "]. — Hamlet, iv. 7. 
 
 Ha ! false to me ? . . . her stolen hours of lust ? I saw 't [her falsehood : implied 
 in " false " and " hours of lust '] not, thought it not, it harm'd not me. — 0th., iii. 3. 
 
 I slew him there . . . Deny 7 [that you " slew him "] again. I have spoke it, and I 
 did it. — Cym., v. 5. 
 
 He hath a witchcraft over the king in 's tongue ... his spell in that [ascendency: 
 implied in "witchcraft over the king"] is out. — H. VIII., iii. 2. 
 
 For your highness' good I ever labour'd more than mine own ; that [devoted to your 
 service : implied in " for your highness' good I ever labour'd "] I am, have, and will 
 be. — Ibid., iii. 2. 
 
 For the inheritance of their loves, and safeguard of what that want [the want of that 
 love : implied in " loves "] might ruin. — CorioL, iii. 2. 
 
 I have not kept my square ; but that [conduct : implied in the context] to come shall 
 all be done by rule. — Ant. (&■ C, ii. 3. 
 
 Nay, nay, Octavia, not only that [the speaker's ground of complaint against Octavius 
 Caesar: implied in the context], — that were excusable, that, and thousands more of 
 ■ semblable import. — Ibid., iii. 4. 
 
 If in your country wars you chance to die, that [the battle-field : implied in " wars "] 
 is my bed too, lads. — Cym., iv. 4. 
 
 There shalt thou know thy charge ; and there receive money and order for their [the 
 foot soldiers implied in " thy charge," which has been previously mentioned as " a 
 charge of foot "J furniture. — i H. IV., iii. 3- 
 
 They lost France, and made his England bleed ; which oft our stage hath shown ; 
 and, for their [the plays of ■' King Henry VI." : implied in " oft our stage hath 
 shown "] sake, in your fair minds let this [' present play ' understood] acceptance 
 take.— H. V., v. 2 (Chorus). 
 
 While I to this hard house . . . return, and force their [the hard-hearted inmates : 
 implied in " this hard house "] scanted courtesy. — Lear, iii. 2. 
 
 I 'II take my leave, and leave you to the hearing of the cause ; hoping you '11 find good 
 cause to whip them [the persons whose " cause" is to be heard] all. — M.for M., ii. i. 
 
 Have stolen his bird's nest. — I will but teach them [the birds: implied in " bird's 
 nest "] to sing, and restore them to the owner. — If their singing answer your saying. — 
 M. Ado, ii. I. 
 
 The complaints I have heard of you I do not all believe . . . you lack not folly to 
 commit them [the knaveries implied in " complaints," and subsequently expressed], 
 and have ability enough to make such knaveries yours. — All's W., i. 3. 
 
 The soul of this man is his clothes ... I have kept of them [such creatures as 
 " this man "] tame, and know their natures. — Ibid., ii. 5. 
 
 As true as I believe you think them [those who occasion your grief: implied in the 
 context] false, that give you cause to prove my saying true. — jfohn, iii. i. 
 
 Be not easily won to our requests ... if you plead as well for them [the objects 
 urged by your " requests "] as I can say nay to thee for myself. — R. III., iii. 7. 
 
 I think he '11 be to Rome as is the osprey to the fish. . . . First, he was a noble 
 servant to them [the Romans: implied in "Rome "]. — Coriul., iv, 7. 
 
 A leg of Rome shall not return to tell what crows have peck'd them [the Romans : 
 implied in " Rome "] here. — Cym., v. 3. 
 
RELATIVELY USED PRONOUNS. 655 
 
 Bring me no more reports ; let them [my nobles : implied in subsequent mention 
 of " thanes "] fly all. — Macb., v. 3. 
 
 'Tis meet that some more audience than a mother, since nature makes them 
 [mothers : implied in " mother "] partial, should o'erhear the speech. — Hamlet, iii. 3. 
 
 I am glad at soul I have no other child ; for thy escape would teach me tyranny, to 
 hang clogs on them [children : impHed in " child "]. — 0th., i. 3. 
 
 Flew on him, and amongst them [those present : implied in the description of the 
 scene] fell'd him dead. — Lear, iv. 2. 
 
 Yond 's that same knave that leads him to these places [haunts of dissipation : 
 implied in the description of Bertram's corrupt morals]. — All's W., iii. 5. 
 
 Oh, could this kiss be printed in thy hand, that thou might'st think upon these [lips : 
 implied in " kiss " and in " through whom a thousand sighs are breath'd "] by the seal, 
 through whom a thousand sighs are breathed for thee! — 2 H. VI., iii. 2. 
 
 Who call'd here of late? — None, since the curfew rung. — Not Isabel ? — No. — They 
 [the persons of whom the speaker is thinking, and whose advent he expects ; viz., 
 " Isabel " and the messenger with the " countermand for Claudio " : implied in the 
 previous inquiry and subsequent dialogue] will, then, ere 'the long. . . . Now are 
 they come.— ilf. for M., iv. 2. 
 
 The land is burning ; Percy stands on high ; and either they [the insurgents who 
 are the cause that " the land is burning," and of whom " Percy "' is a leader] or we 
 must lower lie. — i H. IV., iii. 3. 
 
 AH the temporal lands, which men devout by testament have given to the church, 
 would they [the Commons who " urg'd " the Parliament " bill " against the clergy] 
 strip from us. — H. V., i. i. 
 
 He, more incens'd against your majesty than all the rest, discharg'd me. . . . They 
 [those persons implied in " he " and " all the rest ''] shall have wars, and pay for their 
 presumption. — 3 H. VI., iv. i. 
 
 Go levy men, and rnake prepare for war ; they [the expected foes: implied in "war"] 
 are already, or quickly will be landed. — Ibid., iv. i. 
 
 Anon he 's there afoot, and there they [the objects of Hector's assault : implied in 
 the descriptive context] fly or die. — Tr. &• Cr., v. 5. 
 
 Nor get a. messenger to bring it thee, so fearful were they [those who would not 
 bear a message from dread of the pestilence : implied in " messenger "] of infection. — 
 R. &• jful., V. 2. 
 
 Down from the waist they [prudes ; implied in the previous description, which 
 takes " yon simpering dame " as a type of such pretenders to virtue] are centaurs, 
 though women all above. — Lear, iv. 6. 
 
 Look where they [Antony and Cleopatra : implied in the description of his subjuga- 
 tion to her charms] come. — Ant. &■ C, i. i. 
 
 To rage the city turn, that him and his they [the citizens : implied in " the city"] 
 in his palace burn. — Per., v. 3 (Gower). 
 
 That you will take your instant leave o' the king, and make this haste as your own 
 good proceeding. . . That, having this [the king's permission to depart (implied in 
 "leave"), with the understanding that it is her own wish to go: implied in "make this 
 haste as your own," &c.] obtained, you presently attend his farther pleasure. — 
 AlVs W., ii. 4- 
 
 Let this [the paper containing the "notes" of the compact between the Dauphin 
 and the revolted English nobles] be copied out, and keep it safe for our remembrance. 
 — John, V. 2. 
 
 What, in Heaven's name, doth become of this [the money thus raised : implied in 
 the previous account of the king's extortionate proceedings] ? — Wars have not 
 wasted it. — R. II; ii. i. 
 
 By the necessary form of this [the circumstance of Northumberland's previous con- 
 duct in being " great friends "and then " in two years after " being " at wars " with the 
 speaker of the "prophecy"]. King Richard might create a perfect guess that great 
 Northumberland.— 2 H. IV., iii. i. 
 
 In little room confining mighty men . . . most greatly liv'd this star of England 
 [Henry 'V. : implied in " mighty men "]. — H. V., v. 2 {Chorus). 
 
6s6 THE SHAKESPEARE KEY. 
 
 We'll be there before the stream o' the people; and this [change to resentment: 
 implied by the previous discussion] shall seem, as 'tis, their own, which we have 
 goaded onward. — CorioL, ii. 3. 
 
 I would not take this [the extreme pathos of the meeting between the speaker's 
 blind father and the distracted king : implied by the passing scene] from report ; it is, 
 and my heart breaks at it. — Lear, iv. 6. 
 
 Imogen ! thou hast lost by this [the discovery of thy brothers : implied in the 
 context] a kingdom. — Cym., v. 5. 
 
 We have not spoke us yet of torch-bearers. — 'Tis [the mask in question : implied in 
 " torch-bearers " and subsequently mentioned] vile, unless it may be quaintly order'd, 
 — Mer. of v., ii. 4. 
 
 New-made honour doth forget men's names ; 'tis [the remembrance of men's names : 
 implied as the reverse of "doth forget men's names"] too respective and too sociable 
 for your conversion. — jfohn, i. 1. 
 
 1 will, sir, flatter my sworn brother, the people, to earn a dearer estimation of them ; 
 'iis [the practice of flattering: implied in "flatter "] a condition they account gentle. 
 — CorioL, ii. 3. 
 
 Some news is come, that turns their countenances. — Tis [the panic thus occasioned : 
 implied in previous dialogue] this slave. — Ibid., iv. 6. 
 
 I have already fit ('tis [ a suit : implied in " doublet, hat, hose," &c.] in my cloak- 
 bag) doublet, hat, hose, all that answer to them. — Cym., iii. 4. 
 
 The disorder 's such as war were hood-wink'd. — Tis [this discomfiture: implied in 
 " the disorder "] their fresh supplies. — Ibid., v. 2. 
 
 To satisfy, if of my freedom 'tis [my life : implied in " my all " and stated farther on 
 in the speech] the main part, take no stricter render of me, than my all. — Ibid., v. 4. 
 
 She has a leathern hand, a freestone-colour'd hand ; I verily did think that her old 
 gloves were on, but 'fvvas [the sun-tanned surface that I saw : implied in " leathern " 
 and " freestone-colour'd "] her hands. — As You L., iv. 3. 
 
 I play a merchant's part, and venture madly on a desperate mart. — Twas [a 
 marriageable and saleable daughter: implied in " mart "] a commodity lay fretting by 
 you ; (will bring you gain. — Tarn, of S., ii. i. 
 
 By relating tales of others' griefs, see if 'iwill [this relation, implied in " relating"] 
 teach us to forget our own. — Per., i. 4. 
 
 My honour's at the stake; wUich [risk of losing "my honour"] to defeat, I must 
 produce my power. — All's W., ii. 3. 
 
 Time was, I did him a desired office, dear almost as his life ; which gratitude 
 [gratitude for which " desired office "] through flinty Tartar's bosom would peep forth. 
 — Ibid., iv. 4. 
 
 Commend the paper to his gracious hand ; which [the act of commending the paper : 
 implied in "commend the paper"], I presume, shall render you no blame. — 
 Ibid., v. I. 
 
 As true, as I am now unhappy : which [unhappiness : implied in " unhappy "] is 
 more than history can pattern. — W. T., iii. 2. 
 
 To deliver sweet, sweet, sweet poison for the age's tooth, which [delivery of poison : 
 implied in "to deliver poison "], ... I mean to learn. — John, i. i. 
 
 And beat our watch, and rob our passengers; which [beating and robbing: implied 
 in " beat " and " rob"] he, young wanton and effeminate boy, takes on the point of 
 honour. — R. II., v. 3. 
 
 Men shall deal unadvisedly sometimes, which [unadvised dealing: implied in 
 " deal unadvisedly"] after-hours give leisure to repent. — R. III., iv. 4. 
 
 And, not reform'd, may prove pernicious. — Which reformation [ implied in 
 "reformed"] must be sudden too.— H. VIII., v. 2. 
 
 That plats the manes of horses in the night ; and bakes the elf-locks in foul sluttish 
 hairs, which [entangled mass : implied in " plats " and " bakes ''] once untangled, much 
 misfortune bodes. — R. &• Jul., i. 4. 
 
 Here, as I point my sword, the sun arises : which [the quarter where " the sun 
 arises "] is a great way growing on the south. — Jul. C, ii. i. 
 
RELATIVELY USED PRONOUNS. 657 
 
 Let your highness command upon me ; to the aiJiich [commands : implied in " com- 
 mand "J my duties are with a most indissoluble tie for ever knit. — Macb., iii. i. 
 
 You made it known to us. — I did so; and went farther, which [farther revealment : 
 impHed in "made it known" and "went farther"] is now our point of second meeting. 
 — Ibid., iii. i. 
 
 The impediment most profitably removed, without the which [removal :: implied in 
 " removed"] there were no expectation of our prosperity. — 0th., ii. i. 
 
 Therefore have vife our written purposes before us sent ; which [proposal : implied 
 in "written purposes"], if thou hast consider'd, let us know if 'iwiU tie up thy dis- 
 contented sword. — Ant. &• C, ii. 6. 
 
 It is great to do that thing that ends all other deeds ; which [the act by which death 
 is self-inflicted: implied in " that thing" and " deeds "] shackles accidents, and bolts 
 up change ; which [the condition of death thus caused] sleeps, and never palates more 
 the dung. — Ibid., v. 2. 
 
 Promising to pay our wonted tribute, from the which [payment : implied in " pay "] 
 we were dissuaded. — Cym., v. 5. 
 
 The king hath not deserv'd my service, nor your loves ; who [you : implied in 
 " your"] find in my exile the want. — Ibid., iv. 4. 
 
 He hath given his empire up to a whore ; who [Antony and Cleopatra : implied 
 in " he " and " whore "] now are levying the kings o' the earth for war. — 
 Ant.S- C, iii. 6. 
 
 Then lead me hence ; with whom, [those who occupy the spot implied in " hence "] 
 I leave my curse. — i H. VI., v. 4. 
 
 We are no tyrant, but a Christian king ; unto whose [Christ's : implied in 
 " Christian "] grace our passion is as subject as are our wretches fetter'd in our 
 prisons. — H. V., i. 2. 
 
 Who are the late commissioners ? . . . There is yours [your commission ; implied 
 in " commissioners "] ; there yours . . . this ^cixne is yours ; read thctn. — Ibid., ii. 2. 
 
 In some instances he employs a pronoun in reference to a not 
 immediately preceding antecedent : — 
 
 He must observe their mood on whom he jests. . . . This is a practice as full of 
 labour as a wise man's art : for folly, that he [" he " (meaning a man who wishes to 
 play the fool well) ; not "a wise man"] wisely shows, is fit. — Tw. N., iii. i. 
 
 This was her first remembrance from the Moor; my wayward husband hath a 
 hundred times woo'd me to steal it; but she so loves the token, for he ["the Moor" ; 
 not " my husband "] conjur'd her she should evermore keep it. — 0th., iii. 3. 
 
 By this, your king hath heard of great Augustus ; Caius Lucius will do 's commission 
 throughly ; and I think he '11 [" your king " ; not "Caius Lucius "] grant the tribute. — 
 Cym., ii. 4. 
 
 The regent made in Mitylin, to greet the king. So he [" the regent" ; not " the 
 king "] thriv'd that he is promis'd to be wiv'd to fair Marina ; but in no wise till he 
 [" the king" ; not " the regent "] had done his sacrifice. — Per., v. 2 [Gower). 
 
 By helping Baptista's eldest daughter to a husband, we set his youngest free. . . . 
 Sweet Bianca! . . . his vrooing that would thoroughly woo A^r [Katharina, the "eldest 
 daughter " ; not " Bianca," the " youngest "] wed her, and rid the house of her ! — 
 Tarn ofS; i. i. 
 
 Love forswore me in my mother's womb : and, for I should not deal in her [" Love " 
 (meaning Venus) ; not " mother "] soft laws, she did corrupt frail nature with some 
 bribe.— 3 H. VI., iii. 2. 
 
 The harlot king is quite beyond mine arm. . . . How does the boy ? . . . Go, see 
 how he fares. Fie, fie! no thought of Aim ["the king"; not "the boy"]; the very 
 thought.— ly. T., ii. 3. 
 
 Oh, well did he become that lion's robe, that did disrobe the lion of that robe ! — It 
 lies as sightly on the back of him [the Archduke of Austria (of whom Faulconbridge 
 speaks thus contemptuously in the third person) ; not " he " (in allusion to Richard 
 Ca:ur-de-lion)] as great Alcides' shoes. — John, ii. i. 
 
 2 U 
 
658 THE SHAKESPEARE KEY. 
 
 The duke cannot deny the course of law, for the commodity that strangers have 
 with us in Venice: if it [" the course of law " ; not "the commodity"] be denied. — 
 Mer. of v., iii. 3. 
 
 It is very meet the lord Bassanio live an upright life ; for having such a blessing in 
 his lady, he finds the joys of heaven here on earth ; and if on earth he do not mean it 
 [to " live an upright life " ; not to " find the joys of heaven here on earth "] then in 
 reason. — Ibid., iii. 5. 
 
 Thy gown ? why, ay: come, tailor, let us see't. . . . You shall hop without my 
 custom, sir: I'll none of it [the "gown"; not the "custom"]; hence i — Tarn. 
 o/S., iv. 3. 
 
 Thou art all unjust ; and, that thou art so, there I throw my gage, to prove ii 
 [" that thou art so " ; not " my gage "] on thee to th' extremest point of mortal 
 breathing : seize it [" my gage " ; not " th' extremest point "] if thou dar'st. — 
 R. II., iv. I. 
 
 We will consider of your suit-; and come some other time. . , . 'Twere pity they 
 should lose their father's lands. — Be pitiful, dread lord, and grant it [my " suit " ; not 
 " their father's lands "], then. — ^3 H. VI., iii. 2. 
 
 But mine honesty shall not make poor my greatness, nor my power work without 
 it [" mine honesty " ; not " my greatness "]. — Ant. &• C, ii. 2. 
 
 The law hath not been dead, though it hath slept : those many had not dar'd to do 
 that evil, if the first, that did th' edict infringe, had answer'd for his deed : now 'tis 
 [" the law"i not the " deed "] awake. — M./or M., ii. 2. 
 
 I have n. pain upon my forehead here. — Faith, that 's with watching ; 'twiil [the 
 
 pain " ; not the " forehead "] away again : let me but bind it [your " forehead "] 
 hard, within this hour it will be well. — Otk., iii. 3. 
 
 He brought a Grecian queen. . . . Why keep we her ? the Grecians keep our aunt : 
 is she [the " Grecian queen " ; not " our aunt "] worth keeping ? why, she is a pearl. — 
 Tr. &■ Cr., ii. 2. 
 
 I found her trimming up the diadem on her dead mistress ; tremblingly she [" her," 
 Charmian ; not the " dead mistress "] stood . . . but she [the " dead mistress,'' 
 Cleopatra ; not "her," Charmian] looks like sleep. — Ant. &■ C, v. 2. 
 
 The temple of virtue was she ; yea and she [" virtue " ; not " she "] herself. — 
 Cym., V. 5. 
 
 That youth is surely in their company. — Send to his brother : fetch that gallant 
 [" that youth " ; not " his brother "] hither. — As You L., ii. 2. 
 
 I cannot believe this crack to be in my dread mistress. ... I have lov'd thee, — 
 make that [the " crack " in thy " dread mistress's " fidelity ; not the fact of thy 
 having " lov'd " me] thy question, and go rot! — W. T., i. 2. 
 
 A space whose every cubit seems to cry out. . . . Say, this were death that now 
 hath seized them [the sleeping king and his lords, seen to fall into sudden slumber 
 during the scene ; and not to " every cubit "] ; why, they were no worse than now 
 they are. — Temp., ii. i. 
 
 I fear no uncles dead. — Nor none that live, I hope. — An if they live, I hope I need 
 not fear . . . with a heavy heart, thinking on them [" uncles dead" ; not those "that 
 live "], go I unto the Tower. — R. III., iii. i. 
 
 There is at hand Paris your brother, and Deiphobus, the Grecian Diomed, and our 
 Antenor. . . . How my achievements mock me ! I will go meet them [" Paris," 
 "Deiphobus," " Diomed," and "Antenor ''; not "my achievements"]. — Tr.&-Cr.,iv.2. 
 
 And gave me up to tears. — I blame you not ; for, hearing this, I must perforce 
 
 compound with mistful eyes, or they ["tears"; not "eyes"] will issue too. 
 
 H. v., iv. 6. 
 
 You were ever good at sudden commendations, bishop. ... I come not to hear 
 such flattery now, and in my presence ; they [" commendations " ; not flatteries, 
 implied in " flattery "] are too thin and base to hide offences. — H. VIII., v. 2. 
 
 I hope to see Romans as cheap as Volscians. They [those who have been pre- 
 viously described as "within," at "their feast"; not either "Romans'" or 
 "Volscians"] are rising, they are rising. — Coriol., iv. 5. 
 
RELATIVELY USED PRONOUNS. 659 
 
 There are certain ladies most desirous of admittance. . . . The five best senses 
 acknowledge thee their patron ; and come fireely . . . they [the " ladies " ; not the 
 " five best senses "] only now come but to feast thine eyes. — Timon, i. 2. 
 
 Every reason excites to -this, that my ladyloves me. . . . Jove, I thank thee. — I will 
 smile: I will do everything that thou ["my lady"; not "Jove"] wilt have me. — 
 Tw. N., ii. 5. 
 
 Thou didst smile, infused with a fortitude from heaven, when I have deck'd the sea 
 with drops full salt, under my burden groan'd ; which [when " thou didst smile " ; not 
 when I "groaned"] rais'd in me.—Temp., i. 2. 
 
 I have your own letter that induc'd me to the semblance I put on ; with the which 
 ["letter"; not "semblance"] I doubt not but do myself much right. — Tw. N., 
 V. I [Letter). 
 
 My life stands in the level of your dreams, which [" life "; not " dreams "] I 'U lay 
 down. — W. T., iii. 2. 
 
 And so the prince obscur'd his contemplation under the veil of wildness ; which 
 ["contemplation"; not "wildness"], no doubt, grew like the summer grass. — 
 H. v., i. I. 
 
 The commoners . . . will forget, with the least cause, these his new honours ; 
 which [" cause " ; not " honours "] that he will give them make I as little question. — 
 Coriol., ii. i. 
 
 There shall I try, in my oration, how the people take the cruel issue of these bloody 
 men; according to the which ["how the people take"; not the "issue"], thou. — 
 Jul. C, iii. I. 
 
 Brave Macbeth . . . like valour's minion, carv'd out his passage till he fac'd the 
 slave ; which [" Macbeth " ; not " the slave"] ne'er shook hands. — Macb., i. 2. 
 
 Our will became the servant to defect ; which ["will"; not "defect"] else should 
 free have wrought. — Ibid., ii. i. 
 
 Hath nature given them eyes to see this vaulted arch and the rich crop of sea and 
 land, which [" eyes " ; not " sea and land "] can distinguish 'twixt the fiery orbs above. 
 —Cym., i. 7. 
 
 I find that she, which late was in my nobler thoughts most base, is now the praised 
 of the king; who ["she"; not "the king"] so ennobled, is, as 'twere, born so. — 
 All's W., ii. 3. 
 
 One of my fellows had the speed of him ; who [" one of my fellows " ; not " him "], 
 almost dead for breath. — Macb., i. 5. 
 
 Though you in swearing shake the throned gods, who [" you" ; not " the gods "] 
 have been false to Fulvia. — Ant. &• C, i. 3. 
 
 No more kin to me, than I to your highness; who ["I" not "your highness "], 
 being born your vassal. — Cym., v. 5. 
 
 My mother was the daughter of a king ; who [" my mother " ; not " a king "] died 
 the minute I was born. — Per., v. i. 
 
 The smaller is his daughter ; the other is daughter to the banish'd duke, and here 
 detained by her usurping uncle to keep his daughter company ; whose [not " her 
 uncle" and "his daughter"; but "the smaller " and " the other"] loves are dearer 
 than the natural bond of sisters. — As You L., i. 2. 
 
 The great prerogative and rite of love . . . puts it off to a compell'd restraint ; 
 whose ["the rite of love"; not "a compell'd restraint"] want and whose delay 
 is.— All's W.. ii. 4. 
 
 Come, Camillo, and take her by the hand, whose [" Caraillo "; not " her "] worth 
 and honesty. — W. T., v. 3. 
 
 As for the brat of this accursed duke, whose [" brat "; not " duke "] father slew my 
 father.— 3 H. VI., i. 3. 
 
 Thus yields the cedar to the axe's edge, ZBAose [" cedar "; not "axe"] arms gave 
 shelter to the princely eagle. — Ibid., v. 2. 
 
 Bring in our daughter, clothed like a bride, for the embracements even of Jove 
 himself; at whose ["our daughter"; not "Jove"] conception, till Lucina reigned. 
 Nature. — Per., i. i. 
 
 2 U 2 
 
66o THE SHAKESPEARE KEY. 
 
 He occasionally uses not only pronouns, but other words in relation 
 to a not immediately preceding antecedent : — 
 
 Upon the right hand I ; keep thou the left. — Why do you cross me in this exigent ? — 
 I do not cross you ; but I will do so [take "the right hand"; not "cross you']. — 
 yid. C, V. I. 
 
 Will you to Scone ? — No, cousin, I '11 to Fife. — Well, I will thither ["to Scone '' ; 
 not " to Fife "'^.—Macb., ii. 4. 
 
 REPEATED WORDS. 
 
 A marked peculiarity in Shakespeare's style is the fearless mode in 
 which he frequently repeats the same word or words in a line, phrase or 
 speech ; thereby giving an emphatic effect to the passage : — 
 
 This he wish'd : 
 I after him, do after him wish too. — All's W., i. 2. 
 A man, who is the abstract of all faults 
 That all men follow. — 
 
 I must not think there are 
 Evils enow to darken all his goodness.^^wi. <&■ C, i. 4. 
 Allis lost ! 
 ... Bid them all fly ; 
 For when I am reveng'd upon my charm, 
 I have done all : — bid them all fly ; be gone. 
 . . . All come to this? . . . 
 . . . this pine is bark'd. 
 That overtopp'd them all. — Ibid., iv. 10. 
 She is all happy as the fair'st of all. — Per., v. i. 
 Would that alone, alone he would detain. — Com. of E., ii. i. 
 Yet I, alone, alone do me oppose 
 Against the Pope. — ^ohn, iii. i. 
 
 But I alone, alone must sit and pine. — Lucrece, Stanza 114. 
 Yes, yes. Sir Thomas, 
 
 There are that dare ; and I myself have ventur'd 
 To speak my mind of him : and, indeed, this day. — H. VIII., v. i. 
 Sweet, rouse yourself; and the weak wanton Cupid 
 Shall from your neck unloose his amorous fold. 
 And, like a dew-drop from the lion's mane. 
 Be shook to air. — Tr, &• Cr., iii. 3. 
 
 The boatswain whistles, and 
 The master calls, and trebles their confusion. — Per., iv. i. 
 Your uncle York is join'd with Bolingbroke ; 
 And all your northern castles yielded up. 
 And all your southern gentlemen in arms 
 Upon his party. — R. II., iii. 2. 
 
 Edmund, I arrest thee 
 On capital treason ; and, in thy arrest. 
 This gilded serpent. — Lear, v. 3. 
 It likes us well. Young princes close your hands. — 
 And your lips, too ; for I am well assur'd 
 That I did so when I was first assur'd. — yohn, ii. 2. 
 
 Beware 
 Of entrance to a quarrel ; but, being in, 
 Bear't, that th' opposed may beware of thee. — Hamlet, i. 3. 
 
REPEATED WORDS. 66i 
 
 Why ask I that ? my mangled body shows, 
 
 My blood, my want of strength, my sick heart shows, 
 
 That I must yield my body to the earth. — 3 H. VI., v. 2. 
 
 My lord, you must tell us where the body is, and go with us to the king. — The body 
 is with the king, but the king is not with the body. The king is a thing. — Hamlet, iv. 2. 
 
 First he was 
 A noble servant to them ; but he could not 
 Carry his honours even : whether 'twas pride. 
 Which out of daily fortune ever taints 
 The happy man ; whether defect of judgment, 
 To fail in the disposing of those chances 
 Which he was lord of; or whether nature. 
 Not to be other than one thing, not moving 
 From the casque to the cushion, but commanding peace 
 Even with the same austerity and garb 
 As he controll'd the war ; but one of these 
 (As he hath spices of them all, not all. 
 For I dare so far free him,) made him fear'd. 
 So hated, and so banish'd ; but he has a merit, 
 To choke it in the utterance. — Coriol., iv. 7. 
 The skies are painted with unnumber'd sparks, 
 They are all fire, and every one doth shine ; 
 But there 's but one in all doth hold his place. — ^ul. C, iii. i. 
 He might not but refuse you ; but he protests he loves you, 
 And needs no other suitor but his likings. 
 To take the saf'st occasion by the front 
 To bring you in again. — 0th., iii. i. 
 No, Cassius ; for the eye sees not itself, 
 But by reflection, by some other things. — j^ul. C, i. 2. 
 No place will please me so, no mean of death. 
 As here by * Csesar, and by you cut off, 
 The choice and master spirits of this age. — Ibid., iii. i. 
 I charge thee use her well, even for my charge. — Tr. &• Cr., iv. 4. 
 For me, the ransom of my bold attempt 
 
 Shall be this cold corse on the earth's cold face. — R. III., v. 3. 
 O happy Leonatus ! I may say : 
 The credit that thy lady hath of thee 
 Deserves thy trust ; and thy most perfect goodness 
 Her assur'd credit, — Cym., i. 7. 
 This night methinks is but the daylight sick ; 
 It looks a little paler : 'tis a day. 
 
 Such as the day is when the sun is hid. — Mer. of V., v. i. 
 You breathe these dead news in as dead an ea-T.^John, v. 7. 
 
 For that is good deceit 
 Which mates him first thai first intends deceit. — 2 H. VI., iii. i. 
 We have no reason to desire it, 
 Commended to our master, not to us : 
 Yet, ere you shall depart, this we desire, — 
 As friends to Antioch, we may feast in Tyre. — Per., i. 3. 
 Clifford, devise excuses _/by thy faults. — 
 While we devise fell tortures /or thy faults. — 3 H. VI., ii. 6. 
 
 Doubt thou the stars are fire ; 
 Doubt that the sun doth move ; 
 
 Doubt truth to be a liar ; 
 
 But never doubt I love. — Hamlet, ii. 2 (Letter). 
 
 * This first " by " in the line is used in the sense of ' by the side of.' 
 
662 THE SHAKESPEARE KEY. 
 
 From whence though willingly I came to Denmark, 
 
 To show my duty in your coronation ; 
 
 Yet now, I must confess, that duty done. 
 
 My thoughts and wishes bend again toward France. — Hamlet, i. 2. 
 
 Entreat her fair ; and by my soul./niV Greek, 
 
 If e'er thou stand at mercy of my sword, 
 
 Name Cressid, and thy life shall be as safe 
 
 As Priam is in Ilion. — 
 
 Fair lady Cressid, 
 So please you, save the thanks this prince expects: 
 The lustre in your eye, heaven in your cheek. 
 Pleads youi fair usage. — Tr. <&■ C>., iv. 4. 
 Expose thyself to feel what wretches feel. — Lear, iii. 4. 
 
 Know thou frst, 
 I lov'd the maid I married ; never man 
 Sighed truer breath ; but that I see thee here. 
 Thou noble thing ! more dances my rapt heart. 
 Than when I first my wedded mistress saw 
 Bestride my threshold. — Coriol., iv. 5. 
 Wherein we are not destitute /or want, 
 But weary for the staleness. — Per., v. i. 
 
 We may again 
 Give to our tables meat, sleep to our nights ; 
 Free from our feasts and banquets bloody knives ; 
 Do faithful homage, and receive free honours. — Macb., iii. 6. 
 And give to dust, that is a little gilt. 
 More laud than gilt o'er-dusted. — Tr. &• Cr., iii. 3. 
 For where there is advantage to be given. 
 Both more and less have given him the revolt. — Macb., v. 4. 
 My queen and son are gone to France for aid ; 
 And, as I hear, the great commanding Warwick 
 Is thither gone, to crave the French king's sister 
 To wife for Edward. — 3 H. VI., iii. i. 
 I hope, sir, I have your good will to have mine own good fortunes. — All's W., ii. 4. 
 The greatest grace lending grace. 
 Ere twice the horses of the sun shall bring 
 Their fiery torcher his diurnal ring. — Ibid., ii. i. 
 
 Sir, we have all 
 Great cause to give great thanks. — Coriol., v. 4. 
 
 The Moor replies. 
 That he you hurt is ot great fame in Cyprus, 
 And great affinity. — 0th., iii. i. 
 
 And having wood 
 A villain to attempt it, who having drawn to do 't. — Per., v. i. 
 
 I have 
 Incens'd the lords o' the council, that he is 
 (For so I know he is, they know he is) 
 A most arch heretic. — H. VIII., v. i. 
 
 My sole earth's heaven, and my heaven's claim. — Com. of E., iii. 2. 
 Therefore, merchant, I '11 limit thee this day, 
 To seek thy help by beneficial help. — Ibid., i. i. 
 Such harmony is in immortal souls ; 
 But whilst this muddy vesture of decay 
 Doth grossly close it* in, we cannot hear it. — Mer. of V., v. i. 
 
 * The first " it " in this line refers to ' the human soul,' as implied in " immortal 
 souls,' previously mentioned ; and the second " it " refers to " harmony." See the first 
 passage quoted under Antithetical Style (page 24), where " it " refers to ' work ' as 
 implied in " labours." 
 
REPEATED WORDS. 663 
 
 Must I repent ? 
 I cannot do it better than in gyves, 
 Desir'd more than constrained : to satisfy, 
 If of my freedom 'tis the main part, take 
 No stricter render of me than my all. — fym., v. 4. 
 
 In both the above passages, Shakespeare has used "it" (or " 't ") 
 consecutively, but in reference to two different objects. In the latter 
 passage, from " Cymbeline," " it " refers to " repent," and " 't " refers 
 to " life," as implied in " my all " and as actually stated farther on in 
 the speech [See Relatively Used Pronouns]. In judging such con- 
 densedly expressed passages, it is needful to bear well in mind 
 Shakespeare's peculiar and various modes of constructional diction ; 
 for which purpose our enumeration, of his several similarly constructed 
 passages will materially serve. 
 
 I am not an impostor,- that proclaim 
 
 Myself against the level of mine aim ; 
 
 But know I think, and think I know most sure, 
 
 My art is not past power, nor you past cure. — AlVs^ W., ii. i. 
 
 To know my deed, 'twere best not know myself — Macb., ii. 2. 
 
 But I believe, although I seem so loath, 
 
 I am the last that will last keep his oath. — Love's L. L., i. i. 
 
 Was it so late, friend, ere you went to bed, 
 That you do lie so late ? — Macb., ii. 3. 
 
 Landlord of England art thou now, not king : 
 
 Thy state of law is bond slave to the law. — R. II., ii. i. 
 
 Their weapons like to lightning came and went ; 
 
 Our soldiers', — like the night-owl's lazy flight. 
 
 Or like a lazy thresher with a flail, — 
 
 Fell gently down, as if they struck their friends. — 3 H. VI.. ii. i. 
 
 I '11 take my leave, and leave to you the hearing. — M.for M., ii. i. 
 
 Ay, good leave have you ; for you will have leave. 
 
 Till youth take leave, and leave you to the crutch. — 3 H. VI., iii. 2. 
 
 I like the work well ; ere it be demanded, 
 
 (As like enough it will] I 'd have it copied. — 0th., iii. 4. 
 
 We are beastly ; subtle as the fox for prey ; 
 
 Like vrar-like as the wolf for what we eat. — Cyin., iii. 3. 
 
 Do you see this ? Look on her, — look, — her lips, — 
 
 Look there, look there ! — Lear, v. 3. 
 
 But, you must know, your father lost a father ; 
 
 That father lost, lost his. — Hamlet, i. 2. 
 
 Now, for love oi Love and her soft hours. — Ant. & C, i. i. 
 
 I met a courier, one mine ancient friend; 
 
 Whom, though in general part we were oppos'd. 
 
 Yet our old love made a particular force. 
 
 And made us speak like friends. — Timon, v. 3, 
 
 0, I am known 
 Of many in the army : many years. 
 Though Cloten then but young, you see, not wore him 
 From my remembrance. — Cym., iv. 4. 
 
 But Heaven hath pleas'd it so, 
 To punish me with this, and this with me. — Hamlet, iii. 4. 
 I will come after you, with what good speed 
 Our means will make us means. — All's W., v. i. 
 
664 THE SHAKESPEARE KEY. 
 
 Why all these things change, from their ordinance, 
 
 Their natures, and pre-formed faculties. 
 
 To monstrous quality ; — why, you shall find 
 
 That Heaven hath infus'd them with these spirits. 
 
 To make them instruments of fear and warning 
 
 Unto some monstrous state. — jul. C, i. 3. 
 
 This night I hold an old accustom'd feast, 
 
 Whereto I have invited many a guest 
 
 Such as I love ; and you, among the store, 
 
 One more, most welcome, makes my number more. — R. &• Jul., i. 2. 
 
 And my (Hore-having would be as a sauce 
 To make me hunger more. — Macb., iv. 3. 
 
 Witness our too much memorable shame 
 
 When Cressy battle fatally was struck. 
 
 And all our princes captiv'd by the hand ' 
 
 Of that black name, Edward, Black Prince of Wales ; 
 
 Whiles that his mountain sire, — on mountain standing, 
 
 Up in the air, crown'd with the golden sun, — 
 
 Saw his heroical seed, and smil'd to see him. 
 
 Mangle the work of nature. — H. V., ii. 4. 
 
 The epithet " mountain," which by some commentators has been 
 thought not Shakespeare's word here, on account of its being repeated 
 in the same line, we think likely to be his for that very reason ; since 
 our collected passages^ under the present heading, serve to show how 
 perfectly in his style is a repeated word. Moreover " mountain," as 
 applied to the father of the Black Prince, not only gives the effect 
 of ' lofty,' ' exalted,' but it has reference to the Welsh descent of 
 Edward III., he being son to Edward II. (surnamed ' of Caernarvon '), 
 born among the mountains of Wales. 
 
 And, could it work so muck upon your shape, 
 As it hath much prevail'd on your condition, 
 I should not know you, Brutus. — jful. C, ii. i. 
 
 Then I (as one that am the tongue of these. 
 To sound the purposes of all their hearts). 
 Both for myself and them (but, chief of all, 
 Your safety, for the which myself and them 
 Bend their best studies), heartily request 
 Th' enfranchisement of Arthur.— Jo/ih, iv. 2. 
 
 The second " them " in this sentence was altered by Pope to 'they ' ; 
 but the grammatical licence of " them " used instead of ' they,' and the 
 repetition of the same words, are both in accordance with Shakespeare's 
 style. 
 
 And the ebb'd man, ne'er lov'd till ne'er worth love, 
 Comes dear'd by being lack'd. — Atit. & C, i. 4. 
 
 What wouldst thou beg, Laertes, 
 That shall not be my offer, 7iot thy asking ? 
 The head is not more native to the heart, 
 The hand more instrumental to the mouth, . 
 Than is the throne of Denmark to thy father. — Hamlet, i. 2. 
 And that would set my teeth nothing on edge. 
 Nothing so much as mincing poetry. — i H. IV., iii. i. 
 
 Nay, an he do nothing but speak nothing, he shall be nothing here. — 2 H. IV., ii. 4 
 
REPEATED WORDS. 665 
 
 Alas, poor country, — 
 
 Almost afraid to know itself! It cannot 
 
 Be call'd our mother, but our grave : where nothing, 
 
 But who knows nothing, is once seen to smile. — Macb., iv. 3. 
 Now the good gods forbid 
 
 That our renowned Rome, whose gratitude 
 
 Towards her deserved children is enroll'd 
 
 In Jove's own book, like an unnatural dam 
 
 Should now eat up her own ! — CorioL, iii. i. 
 
 Now might I do it, pat, now he is praying ; 
 
 And now I'll do't. — Hamlet, iii. 3. 
 O, of this contradiction you shall now be quit. 0, the charity of a penny cord !— 
 Cym., V. 4. 
 
 Some modern editors have omitted this first " " ; but observe how 
 Shakespeare has a similar repetition of the exclamation " O " in the 
 next example we give from this very play, and also observe that the 
 jailer again prefaces a remark with an " O " in his last speech of the_ 
 present scene. It is as if the dramatist meant it as a characteristic of 
 this speaker's diction. 
 
 O, my gentle brothers. 
 
 Have we thus met ? 0, never say hereafter 
 
 But I am truest speaker. — Ibid., v. 5. 
 
 This is not strong enough to be believ'd 
 
 Of one persuaded well of. — 
 
 Never talk on 't. — Ibid., ii. 4. 
 
 I '11 none of it ; hence ! make your best of it. — Tam. of S., iv. 3. 
 
 O, the blest gods ! so will you wish on me. 
 
 When the rash mood is on. — Lear, ii. 4. 
 
 And once again bestride our foaming steeds. 
 
 And 07ice again cry — Charge upon our foes ! 
 
 But never once again turn back and fly. — 3 H. VI., ii. i. 
 
 If then one is, or hath, or means to be. 
 
 That one meets Hector ; if none else, I am he. — 
 
 Tell him of Nestor, one that was a man 
 
 When Hector's grandsire suck'd : he is old now ; 
 
 But if there be not in our Grecian host 
 
 One noble man that hath one spark of fire, 
 
 To answer for his love, tell him from me. — Tr. &• Cr., i. 3. 
 
 Nay, weep not, gentle Eros ; there is left us 
 
 Ourselves to end ourselves. — Ant. &• C, iv. 12. 
 Better be with the dead, 
 
 Whom we, to gain our peace, have sent to peace, 
 
 Than on the torture of the mind to lie 
 
 In restless ecstacy. — Macb., iii. 2. 
 
 Several editors have adopted the alteration made by the Second 
 Folio of the first " peace " in the above line to ' place ' ; whereby we 
 think that much of the force and antithetical point of the passage is 
 lost. As it stands, the repeated word is completely in Shakespeare's 
 manner, and it precisely describes that which Macbeth has endeavoured 
 to " gain," in order to appease his restless ambition and to give expected 
 fulness of content to all his after days. 
 
 The foe is merciless, and will not pity ; 
 
 For at their hands I have deserv'd no pity. — 3 H. VI., ii. 6. 
 Do you know this house to be a place of such resort, and will come to it ? I hear 
 say, you are of honourable parts, and are governor of this place. — Per., iv. 6. 
 
666 THE SHAKESPEARE KEY. 
 
 Deposing thee before thou wert possess'd. 
 
 Which art possess'd now to depose thyself. — R, II., ii. i. 
 
 The present eye praises the present object. — Tr. 6" Cr., iii. 3. 
 
 Amongst them 
 Whose eyes are on this sovereign lady fix'd. 
 One do I personate of lord Timon's frame, 
 Whom Fortune with her ivory hand wafts to her ; 
 Whose present grace to present slaves and servants 
 Translates his rivals. — Timon, i. i. 
 
 It has been proposed to alter the second " present " in the above line 
 to ' peasant ' ; but the emphatic repetition is in Shakespeare's manner, 
 and draws special attention to the point he wishes to enforce — namely, 
 that it is Timon's "present" prosperity which makes "present" 
 slaves and servants of those around him, as his ' future ' downfall will 
 make 'future ' ingrates of those who now worship him. 
 
 But now mischance hath trod my title down, 
 And with dishonour laid me on the ground ; 
 Where I must take like seat unto my fortune, 
 And to my humble seat conform myself. — 3 M. VI., iii. 3. 
 This service is not service, so being done, 
 But being so allow'd. — Cym., iii. 3. 
 From forth thy reach he would have laid thy shame, 
 . . . Wert thou regent of the world, 
 It were a shame to let this land by lease ; 
 But for thy world enjoying but this land, 
 Is it not more than shame to shame it so ? — R. II., ii. i. 
 Live in thy shame, but die not shame with thee. — Ibid., ii. i. 
 Why ask I that ? my mangled body shows. 
 My blood, my want of strength, my sick heart shows. 
 That I must yield my body to the earth. — 3 H. VI., v. 2. 
 So come my soul to bliss, as I speak true ; 
 So speaking as I think, I die, — I die. — Ofh., v. 2. 
 I sometimes do believe, and sometimes do not ; 
 
 As those thsLt/ear they hope, and know they /en;-. — As You L., v. 4. 
 O, but impatience waiteth on true sorrow : 
 
 And see where comes the breeder of my sorrow. — 3 H, VI., iii. 3. 
 I have spirit to do anything that appears not foul in the truth of my spirit. — 
 M.for M., iii. 2. 
 
 Here the first " spirit " is used in the sense of courage or courageous 
 enterprise; the second "spirit" in the sense of conscience, spiritual 
 perception of right and wrong. It is a rule in ordinary constructional 
 style that the same word should not be used in a different sense in the 
 same sentence ; but we have shown several examples of Shakespeare's 
 breaking through this rule with excellent effect. He made his own 
 rules ; making them so ably, and working by them so advantageously, 
 as to render them worthy of adoption by others. For dramatic diction, 
 where the object is to produce prompt and striking impression, Shake- 
 speare's bold originality in laws of construction is worth far more than 
 the tame decrees of mereh' strict phraseologists. 
 
 To England will I steal, and there I '11 steal. — H. V., v. i. 
 If you will take this audit, take this life. 
 And cancel these cold bonds. — Cym., v. 4. 
 
REPEATED WORDS. 667 
 
 What is the matter, 
 
 That being pass'd for consul with full voice, 
 
 I am so dishonour'd, thai the very hour 
 
 You take it off again ? — Coriol., iii. 3. 
 
 Woe is my heart, 
 
 That the poor soldier, that so richly fought. 
 
 Whose rags sham'd gilded arms, whose naked breast 
 
 Stepp'd before targes of proof, cannot be found. — Cym., v. 5. 
 
 They shall have none, I swear, but these my joints, — 
 
 Which, if they have as I will leave 'cm them, 
 
 Shall yield them little, tell the Constable. — H. V., iv. 3. 
 You may think perchance that I think you are in love : nay, by 'r lady, I am not 
 such a fool to think what I list ; nor I list not to think what I can ; nor, indeed, I 
 cannot think, if I would think my heart out of thinking, that you are in love, or that 
 you will be in love, or that you can be in love. — M. Ado, iii. 4. 
 
 In this passage Shakespeare is evidently showing how repetition of 
 words may be carried to excess ; since he has made the speaker, Mar- 
 garet, a would-be imitatress of her mistress, Beatrice, in playful word- 
 catching. It is not only, like most imitations, inferior to the original, 
 but it is a caricature. He has elsewhere taken care to mark how the 
 fashion of playing upon a repeated word may run into exaggeration, by 
 making Polonius check himself when he is overstraining his reiteration 
 of the words " tender " and " tenders :" — 
 
 He hath, my lord, of late made many tenders 
 
 Of his affection to me. — 
 
 Affection ! pooh ! you speak like a green girl, 
 
 Unsifted in such perilous circumstance. 
 
 Do you believe his tenders, as you call them ? — 
 
 I do not know, my lord, what I should think. — 
 
 Marry, I '11 teach you ; think yourself a baby ; 
 
 That you have ta'en these tenders for true pay. 
 
 Which are not sterling. Tender yourself more dearly ; 
 
 Or, — not to crack the wind of the poor phrase, 
 
 Wronging it thus, — you'll tender me a fool. — Hamlet, i. 3. 
 
 Those that I reverence, those Ifear, — the wise ; 
 
 At fools I laugh, not fear them. — Cym., iv. 2. 
 
 If thou please 
 To take me to thee, as I was to him 
 I '11 be to Caesar. — Ant. &• C, v. i. 
 Our tongues and sorrows do sound deep 
 Our woes into the air ; our eyes do weep. 
 Till tongues fetch breath that may proclaim them louder. — Per., i. 4. 
 
 The second " tongues " in this passage has been altered by Malone 
 and others to ' lungs ' ; but, besides that the repetition is consistent 
 with Shakespeare's style, we find in " King Richard II.," i. 3, the expres- 
 sions, " Which robs my tongue from breathing native breath," and 
 " The tongue's office should be prodigal to breathe th' abundant dolour 
 of the heart." 
 
 If this poor trash of Venice, whom I trash 
 
 For his quick hunting, stand the putting on. — 0th., ii. i. 
 
 In the First Folio and in the Second and Third Quartos, the second 
 "trash " in the above line is printed ' trace ' (probably an old form of 
 ' trass ' or " trash "), while the First Quarto misprints it ' crush.' The 
 very repetition of the word makes, in our opinion, for the correctness of 
 
668 THE SHAKESPEARE KEY. 
 
 the reading in the text; while the phrase "for his quick hunting" shows 
 that a sporting term is intended, " trash " being an expression of the 
 chase for ' check,' ' stop,' ' keep back.' 
 
 And appetite, a universal wolf. 
 
 So doubly seconded with will and power. 
 
 Must make perforce a imiversal prey. 
 
 And last eat up hinnself. — Tr. &• Cr., i. 3. 
 I serve here voluntary. — Your last service was sufferance, 'twas not voluntary, — no 
 man is beaten voluntary : Ajax was here the voluntary, and you as under an impress. 
 — Ibid., ii. I. 
 
 My mother greets me kindly: is she well?— 
 
 She is not well ; but yet she has her health: she 's very merry; but yet she is not 
 well : but thanks be given, she s very well, and wants nothing i' the world ; but yet 
 she is not well. — If she be very well, what does she ail, that she 's not very well ? — 
 Truly, she 's very well indeed, but for two things. — All's W., ii. 4. 
 
 The above is a specimen of the skirmishing with repeated words, 
 which was 'one of the means by which professional fool-jesters enter- 
 tained their employers. 
 
 Well, I am glad that all things sort so well. — M. Ado, v. 4. 
 
 Will you to Scone ? — 
 No, cousin, I '11 to Fife. — 
 
 Well, I will thither. — 
 Well, may you see things well done there, — adieu, — 
 Lest our old robes sit easier than our new \-^Macb., ii. 4. 
 Wilt thou, God, fly from such gentle Iambs, 
 And throw them in the entrails of the wolf ? 
 When didst thou sleep, when such a deed was done .^ — R. III., iv. 4. 
 
 In the Second Folio the first "when " in this line was changed to 
 ' why ; ' but the word is firstly used in the sense of ' at what time 
 before this ' or ' when ere now ' ; and, secondly, in the sense of ' at the 
 time that ' or ' while.' Moreover, this near repetition of the word 
 " when " appropriately gives it the effect of an impatient exclamation, 
 such as it sometimes formerly bore. 
 
 But, what 's your will ? — 
 Your answer, sir, is enigmatical : 
 But for my will, my will is, your good will 
 May stand with ours, this day to be conjoin'd 
 In the state of honourable marriage. — M. Ado, v. 4. 
 You may as well go about to turn the sun to ice with fanning in his face with a 
 peacock's feather. — H. V., iv. i. 
 
 Thou told'st me they were stol'n into this aood ; 
 
 And here am I, and wood within this wood 
 
 Because I cannot meet my Hermia. — Mid. N. D., ii. 2. 
 
 The second time " wood " occurs in the above passage, it bears one 
 of the senses it formerly had — ' wild,' ' distracted,' ' mad.' 
 
 I must take out the work ! A likely piece of work, that you should find it in your 
 chamber, and not know who left it there ! This is some minx's token, and I must 
 take out the work .' There, give it your hobby-horse : wheresoever you had it, I '11 
 take out no work on 't. — 0th., iv. i. 
 
 I will to-morrow 
 (And betimes I will) to the weird sisters : 
 More shall they speak ; for now I am bent to know, 
 By the worst means, the worst. — Macb., iii. 4. 
 
REPEATED WORDS. 66g 
 
 Sometimes Shakespeare gives a nearly similar word in the same 
 sentence : — 
 
 Peace, ho ! for shame ! confusion's cure lives not 
 
 In these confusions. — R. &• ytU., iv. 5. 
 
 When thou hast hung thy advanced sword i' the air, 
 
 Not letting it decline on the declined. — Tr. &• Cr., iv. 5. 
 
 Deposing thee before thou wert possess'd, 
 
 Which art possess'd now to depose thyself. — R. II., ii. i. 
 
 And give to dust, that is a little gilt. 
 
 More laud than gilt o'er-dusted. — Tr. &■ Cr., iii. 3. 
 
 Were he as famous, and as bold in war, 
 
 As he is fam'd for mildness, peace, and prayer. — 3 H. VI., ii. i. 
 
 Deny to speak with me ? They are sick ? they are weary ? 
 
 They have travell'd hard to-night ? Mere fetches ; 
 
 The images of revolt and flying off. 
 
 Fetch me a better answer. — Lear, ii. 4. 
 
 O, world, thy slippery turns ! Friends now fast sworn, 
 
 Whose double bosoms seem to wear one heart. 
 
 Whose hours, whose bed, whose meal, and exercise, 
 
 Are still together, who twin, as 'twere, in love 
 
 Unseparable, shall within this hour. 
 
 On a dissension of a doit, break out 
 
 To bitterest enmity. — Coriol., iv. 4. 
 
 It has been proposed to change " hours " to ' house ' here : but not 
 only would the alteration deprive the passage of the nearness of 
 " hours" and " hour," which is in Shakespeare's style ; it would also 
 destroy the antithetical force of the entire sentence, which signifies, 
 ' Strange that friends whose hours have been perpetually spent 
 together, should within a single hour break out to bitterest enmity.' 
 As a corroboration, too, the passage describing mutual friendship in 
 " Two Gentlemen of Verona," ii. 4, contains the same word here 
 employed : " From our infancy we have convers'd and spent our 
 hours together." 
 
 Though indirect. 
 Yet indirection thereby grows direct. — John, iii. i. 
 
 The whole speech, from which this example is cited, abounds with 
 instances of repeated similar words ; affording a most characteristic 
 specimen of sophistical argument dressed in specious terms confusedly 
 intervolved and reiterated : — 
 
 I may disjoin my hand, but not my faith. — 
 
 So mak'st thou faith an enemy to faith ; 
 
 And, like a civil war, sett'st oath to oath. 
 
 Thy tongue against thy tongue. 0, let thy vow 
 
 First made to Heaven, first be to Heaven perform'd, — 
 
 That is, to be the champion of our church ! 
 
 What since thou swor'st is sworn against thyself: 
 
 And may not be performed by thyself : 
 
 For that which thou hast sworn to do amiss 
 
 Is not amiss when it is truly done ; 
 
 And being not done, where doing tends to ill, 
 
 The truth is then most done not doing it : 
 
 The better act of purposes mistook 
 
 Is to mistake again ; though indirect. 
 
 Yet indirection thereby grows direct. 
 
670 THE SHAKESPEARE KEY. 
 
 And falsehood falsehood cures; as fire cooXs fire 
 
 Within the scorched veins of one new burn'd. 
 
 It is religion that doth make vows kept ; 
 
 But thou hast sworn against religion^ 
 
 By what thou swear' st against the thing thou swear'st ; 
 
 And mak'st an oath the surety for thy truth 
 
 Against an oath : the truth thou art unsure 
 
 To swear, swears only not to he forsworn; 
 
 Else, what a mockery should it be to swear I 
 
 But thou dost swear only to he forsworn ; 
 
 And raosi forsworn, to keep what thou dost swear. — John, iii. i. 
 In the same play there are two other speeches that contain an 
 abundance of repeated similar words ; which makes for our theory 
 (stated under the heading of Recurrence of Particular Points) 
 respecting Shakespeare's special modes of thinking and writing in 
 certain plays : — 
 
 If lusty love should go in quest of beauty, 
 
 Where should he find it fairer than in Blanch ? 
 
 If zealous love should go in search of virtue, 
 
 Where should he find it purer than in Blanch ? 
 
 If love ambitious sought a match of birth, 
 
 Whose veins bound richer blood than Lady Blanch ? 
 
 Such as she is, in beauty, virtue, birth. 
 
 Is the young Dauphin every way complete, — 
 
 If not complete of, say, he is not she ; 
 
 And she again wants nothing, to name want. 
 
 If want it be not, that she is not he : 
 
 He is the half part of a blessed man. 
 
 Left to be finished by such a she ; 
 
 And she a fair divided excellence. 
 
 Whose fulness of perfection lies in him. 
 
 O, two such silver currents, when they join. 
 
 Do glorify the banks that bound them in ; 
 
 And two such shores to two such streams made one. 
 
 Two such controlling bounds shall you be, kings, 
 
 To these two princes, if you marry them. — Ibid., ii. 2. 
 
 I am not mad: this hair I tear is mine; 
 
 My name is Constance ; I was Geffrey's wife ; 
 
 Young Arthur is my son, and he is lost: 
 
 I am not mad ; I would to heaven I were ! 
 
 For then 'tis like I should forget myself: 
 
 O, if I could, what grief should I forget ! 
 
 Preach some philosophy to make me mad. 
 
 And thou shaft be canoniz'd, cardinal ; 
 
 For, being not mad, but sensible of grief, 
 
 My reasonable part produces reason 
 
 How I may be deliver'd of these woes. 
 
 And teaches me to kill or hang myself: 
 
 If I were mad, I should forget my son, 
 
 Or madly think a babe of clouts were he. 
 
 I am not 7nad : too well, too well I feel 
 
 The different plague of each calamity. — Ibid., iii. 4. 
 
 Nay, certainly to-night. 
 
 For look, how fresh she looks ! They were too rough, 
 
 That threw her in the sea. — Per., iii. 2. 
 
 And the ebb'd man, ne'er lov'd till ne'er worth love, 
 
 Comes dear'd by being lack'd. — Ant. &• C.,\. 4. 
 
 Oft have you (often have you thanks therefore) 
 
 Desir'd my Cressid in right great exchange. — Tr. &• Cr., iii. 3. 
 
REPEATED WORDS. 671 
 
 While we were interchanging thrusts and blows, 
 
 Came more and more, and lought on pari and part, 
 
 Till the prince came, who parted either part. — R. &■ Jul, i. i. 
 
 That he is not only plagued for her sin. 
 
 But God hath made her sin and her the plague 
 
 On this removed issue, plagu'd for her. 
 
 And with her plague, her sin ; his injury 
 
 Her injury, — the beadle to her sin ; 
 
 All punish'd in the person of this child, 
 
 And all for her; a. plague upon her ! — 
 
 Thou unadvised scold, I can produce 
 
 A will that bars the title of thy son. — 
 
 Ay, who doubts that ? A will ! a wicked will; 
 
 A woman's will ; a canker'd grandam's will ' — 
 
 Peace, lady! pause, or be more temperate ; 
 
 It ill beseems this presence to cry aim 
 
 To these z'W-tuned repetitions. — John, ii. i. 
 
 The Moor already changes with ray poison : — 
 Dangerous conceits are, in their natures, poisons. 
 Which at the first are scarce found to distaste. 
 But, with a little act upon the blood. 
 Burn like the mines of sulphur. I did say so : — 
 Look, where he comes ! — 0th., iii. 3. 
 
 The word " poison " has been objected to as probably erroneous ; 
 whereas we not only think its proximity to " poisons " shows it to be in 
 accordance with Shakespeare's style, but we think the one word is used 
 in direct reference to the other, as illustrative comment, thus : ' The 
 Moor already changes with the poison I have administered to him — 
 for dangerous fancies such as I have suggested to his mind are, in their 
 inflaming quality, poisons, which, &c.' The very words that follow — 
 " I did say so : look where he comes ! " — serve to support our view of 
 the passage ; since they imply, ' I have just said that the poisonous 
 ideas I have suggested burn fiercely ; and see where he comes to 
 confirm my words by his pangs of restless misery ! ' 
 
 For young hot colts, being rag'd, do rage the more. — R. II., ii. i. 
 
 To avoid the effect of repetition, various substitutions have been pro- 
 posed for "rag'd"; but, in our opinion, "rag'd" was here used bj' 
 Shakespeare as an abbreviated form of' enraged' (to express ' fretted,' 
 ' irritated,' ' provoked'), for the sake of producing that very repetitional 
 effect which offends some of his would-be emendators, but in which he 
 delighted, and which delights those who admire his spirited style. 
 
 There, take the paper: see it be return' d ; 
 
 Or else return no more into my sight. — Two G. of V., i. 2. 
 
 And when we have our armours buckled on, 
 
 The venom'd vengeance ride upon our swords. 
 
 Spur them to ruthful work, rein them from ruth. — Tr. &• Cr., v. 3. 
 
 O miracle of men ! — him did you leave, 
 (Second to none, unseconded by you) 
 To look upon the hideous god of war 
 In disadvantage. — 2 H. IV., ii. 3. 
 
 But I love thee 
 By love's own sweet constraint, and will for ever 
 Do thee all rights of service. — 
 
672 THE SHAKESPEARE KEY. 
 
 Ay, so you serve us, 
 Till we serve you ; but when you have our roses. 
 You barely leave our thorns to prick ourselves. 
 And mock us with our bareness. — All's W., iv. 2. 
 
 By changing the word " barely" to ' basely,' Rowe showed that he 
 did not perceive the Shakespearian emphasis of repetition which marks 
 the whole of this passage, or the Shakespearian condensation whereby 
 the last sentence is made succinctly and poetically to express, ' You 
 leave us deprived of all save our stings of conscience, and then reproach 
 us with our deprivation.' 
 
 Shame come to Romeo ! — 
 
 Blister'd be thy tongue 
 
 For such a wish ! he was not born to shame : 
 
 Upon his brow shame is ashamed to sit. — R. &• Jul., iii. 2. 
 
 So come my soul to bliss, as I speak true ; 
 
 So speaking as I think, I die, — I die. — Oih., v. 2. 
 
 We shall not spend a large expense of time 
 
 Before we reckon with your several loves. 
 
 And make us even with you. — Macb., v. 7. 
 Although in this passage we have left the word " expense " in the 
 text of all our editions of the poet, and although we here cite it among 
 our examples of nearly similar words repeated, yet we feel by no means 
 confident that it is not a misprint ; perhaps for either ' extent ' or 
 ' expanse,' which have been suggested as probably supplying the 
 original word. 
 
 And with some sweet oblivious antidote 
 
 Cleanse the stuffd bosom of that perilous stuff 
 
 Which weighs upon the heart ? — Ibid., v. 3. 
 
 See Familiar and Homely Expressions for an explanation of our 
 views upon the above passage. 
 
 And I, like one lost in a thorny wood, 
 
 That rents the thorns, and is rent with the thorns, 
 
 Seeking a way, and straying from the way ; 
 
 Not knowing how to find the open air. 
 
 But toiling desperately to find it out, — 
 
 Torment myself to catch the English crown : 
 
 And from that torment I will free myself. 
 
 Or hew my way out with a bloody axe. 
 
 Why, I can smile, and murder while I smile. — 3 H. VI., iii. 2. 
 
 If, like a Christian, thou hadst truly borne 
 
 Betwixt our armies true intelligence. — i H. IV., v. 5. 
 
 For I have ever verified my friends 
 
 (Of whom he 's chief) with all the size that verity 
 
 Would without lapsing suffer. — Coriol., v. 2. 
 There have not been wanting objectors to the word "verified" in 
 this sentence: but not only does its similarity to " verity" offer likeli- 
 hood of its being what Shakespeare wrote, taking it to be used in the 
 sense of ' affirmed the excellence of,' ' asserted the merit of,' ' borne 
 witness to the worth of,' it may also be taken to bear the sense of 
 ' spoken the truth of,' in which case the sentence would be quite in his 
 style, as implying, ' I have always spoken the truth of my friends as 
 largely as truth would allow without ceasing to be truth.' 
 
 This he wish'd 
 
 I, after him, do after him wish too. — All's W., i. 2. 
 
RHYMES. 673 
 
 RHYMES. 
 
 Several of Shakespeare's plays contain passages and even whole 
 speeches written in rhyme; but among these rhymed portions, there 
 are a few that present instances of a non-rhyming couplet occurring : — 
 
 Cricket, to Windsor chimneys shalt thou leap ; 
 
 Where fires thou find'st unrak'd, and hearths unswept. — Merry W., v. 5. 
 
 These lily lips. 
 
 This cherry nose. — Mid. N. D., v. i. 
 
 May I, sweet lady, beg a kiss oiyou ? — 
 You may. — 
 
 I do desire it. — 
 
 Why, beg, then. — Tr. &• Cr., iv. 5. 
 
 Here *& that, which is too weak to be a sinner, 
 
 Honest water, which ne'er left man i' the mire. — Timon, i. 2. 
 
 And winking Mary-buds begin 
 
 To ope their golden eyes ; 
 With every thing that pretty is : 
 
 My lady sweet, arise. — Cym., ii. 3 (Song). 
 
 He also occasionally gives an imperfectly rhyming couplet ; and, 
 when he wrote, considerable licence was taken in forming rhymes from 
 words that merely sounded somewhat alike : — 
 
 In very likeness of a roasted crab ; 
 
 And, when she drinks, against her lips I bob. — Mid. N. D., ii. i. 
 
 May be the lady. Thou shalt know the man 
 
 By the Athenian garments he hath on. — Ibid., ii. 2. 
 
 Ay, that leitpap. 
 
 Where heart doth hop. — Ibid., v. 4. 
 
 Nay, by Saint famy, 
 
 I hold you a penny, 
 
 A horse and a man 
 
 Is more than one. 
 
 And yet not many. — Tarn, of S., iii. 2. 
 
 Great Hector's sister did Achilles win ; 
 
 But our great Ajax bravely beat down him. — Tr. &• Cr., iii. 3. 
 
 If my cap would buy a halter : 
 
 So the fool follows after. — Lear, i. 4. 
 
 To sing a song that old was sting. 
 
 From ashes ancient Gower is come ; . . . 
 
 The fairest in all Syria, — 
 
 I tell you what mine authors say : . . . 
 
 With whom the father liking took. 
 
 And her to incest i.\i provoke.— Per., i. [Gower). 
 
 And, to remember what he does. 
 Build his statue to make him glorious : . . . 
 Good Helicane hath stay'd at home, 
 Not to eat honey like a drone. . . . 
 How Thaliard came full bent with sin. 
 And hid intent to murder him ; . . , 
 Make such unquiet that the ship 
 
 Should house him safe, is wreck'd and split. — Ibid., ii. [Gower). 
 
 2 X 
 
674 THE SHAKESPEARE KEY. 
 
 The mutiny he there hastes t' oppress ; 
 
 Says to them, if King Pericles 
 
 Come not home in twice six moons, 
 
 He. obedient to their dooms. . . . 
 
 This stage the ship, upon whose deck 
 
 The sea-tost Pericles appears to speak. — Per., iii. [Gower). 
 
 Dionyza doth appear. 
 
 With Leonine, a murderer. — Ibid., iv. (Gower). 
 
 Now our sands are almost r^ln ; 
 
 More a little, and then dumb. — Ibid., v. 2. [Gower). 
 
 We find a few instances of Shakespeare's giving a single unrh}-med 
 line among several that rhyme : — 
 
 This grisly beast, which Lion hight by name. — Mid. N. D., v. i. 
 I 'U do, I '11 do, and I '11 do. . . . 
 V the shipman's card . . . 
 Look what I have, — 
 
 Show me, show me. — . . , 
 Thus do go about, about : . . . 
 Peace ! the charm 's wound up. — Macb., i. 3. 
 
 In the above-cited instances, v/e believe that the defective rhyming 
 was intentional on the part of our author ; in the first-cited instance, 
 to denote the slipshod style of the doggerel that forms the dialogue in 
 the Interlude of " Pyramus and Thisbe " (and which we have always 
 cherished a conviction Shakespeare intended to be taken as written by 
 Peter Quince himself; becausein the Folio we find, " Enter the Prologue 
 Quince," and because, in act iv., sc. i, Bottom says: — 
 
 I will get Peter Quince to write a ballad of this dream, 
 
 showing that Quince is an author as well as stage-manager and 
 deliverer of the prologue) ; and in the second-cited instance, to give the 
 effect of ruggedness and irregularity to the diction of those wild, weird 
 creatures, the witches. 
 
 Sometimes Shakespeare passes from couplet rhyming to alternate 
 rhyming : as in the speeches of the Chorus, Gower ; which are for 
 the most part in couplet, but which at the opening of act v. are given 
 in alternate rhymes : — 
 
 Marina thus the brothel 'scapes, and chances 
 
 Into an honest house, our story says. 
 She sings like one immortal, and she dances 
 
 As goddess-like to her admired lays. — Per. v. (Gower). 
 
 In a few cases, Shakespeare allows himself to rhyme with the same 
 word : — 
 
 Our prayers do out-pray his ; then let them have 
 
 That mercy which true prayers ought to have. — R. II., v. 3. 
 
 To seek her as a hed-fcllow. 
 
 In marriage pleasures p\ay-fcllow. — Per. i. (Gower). 
 
 Where our scenes seem to live. I do beseech you 
 
 To learn of me, who stand i' the gaps to teach you. — Ibid., iv. 4 (Gotver). 
 
 Potent at court : he, none but he, shall have her. 
 
 Though twenty thousand worthier come to crave her. — Merry W., iv. 4. 
 
 In the two last-quoted examples there is merely a licence that would 
 always be and is now permissible in playful rhyming ; inasmuch as the 
 
RHYMES. 675 
 
 rhyme lies in the penultimate word, and the final word counts for no 
 more than a mute half-foot at the end of the line. 
 
 Shakespeare, in accordance with a practice of other dramatists, fre- 
 quently terminates a scene with a rhyming couplet : — 
 Prospero, my lord, shall know what I have done : 
 So, king, go safely on to seek thy son. — Temp., ii. i. 
 If I can check my erring love, I will ; 
 
 If not, to compass her I '11 use my skill. — Two G. of V., ii. 4. 
 To Master Brook you yet shall hold your word ; 
 For he to-night shall lie with Mistress Ford. — Merry W., v. 5. 
 Is more to bread than stone : hence shall we see. 
 If power change purpose, what our seemers be. — M.for M., i. 4. 
 Hopeless, and helpless, doth JEgeon wend. 
 But to procrastinate his lifeless end. — Com. of E., i. i. 
 For others say thou dost deserve, and / 
 Believe it better than Teportingly.—M. Ado, iii. i. 
 Well, I will love, write, sigh, pray, sue, groan : 
 Some men must love my lady, and some jfoan. — Love's L. L., iii, i. 
 A fortnight hold we this solemnity. 
 In nightly revels and new ]o\lity. — Mid. N. D., v. i. 
 Where money is ; and I no question make, 
 To have it of my trust, or for my sake. — Mer. of V., i. i. 
 After my flight. Now go we in conte7it 
 To liberty, and not to banishmeK*. — As You L., i. 3. 
 Seize thee that list : if once I find thee ranging, 
 Hortensio will be quit with thee by changing. — Tarn, of S., iii. i. 
 Begone to-morrow ; and be sure of this, 
 What I can help thee to, thou shall not miss. — AWs W., i. 3. 
 Away before me to sweet beds oi flowers : 
 
 Love-thoughts lie rich, when canopied with bowers, — Tw. N., i. i. 
 Strong reasons make strange actions ; let us go : 
 If you say ay, the king will not say no. — jfohn, iii. 4. 
 Come home with me to supper ; I will lay 
 A plot shall show us all a merry day. — R. II., iv. i. 
 I '11 so offend, to make offence a skill ; 
 
 Redeeming time, when men think least I will, -i H. IV., i. 2. 
 Get posts and letters, and make friends wiih speed, — 
 Never so few, and never yet more need. — 2 H. IV., i. i. 
 Cheerly to sea ; the signs of war advance : 
 No king of England, if not king of France. — H. V., ii. 2. 
 Come, let us four to dinner : I dare say 
 This quarrel will drink blood another day. — i H. VI., ii. 4. 
 And force, perforce, I '11 make him yield the crown. 
 Whose bookish rule hath puU'd fair England down.— 2 H. VI., i. i. 
 Now therefore let us hence ; and lose no hour. 
 Till we meet Warwick with his foreign power. — 3 H. VI., iv. i. 
 Clarence still breathes ; Edward still lives and reigns ; 
 When they are gone, then must I count my gains. — R. III., i. i. 
 That little thought, when she set footing here. 
 She should have bought her dignities so dear. — H. VIII., iii. i. 
 Two curs shall tame each other : pride alone 
 Must tarre the mastiffs on, as 'twere their bone.—Tr. &• Cr., i. 3. 
 Come, let 's away. When, Caius, Rome is thine, 
 Thou art poorst of all ; then shortly art thou mine. — Coriol., iv. 7. 
 Farewell : thou canst not teach me to forget. — 
 I 'U pay that doctrine, or else die in debt. — R. &• jfiil., i. i. 
 
 2X3 
 
676 THE SHAKESPEARE KEY. 
 
 I '11 ever serve his mind with my best will : 
 
 Whilst I have gold, I '11 be his steward still. — Timon, iv. 2. 
 
 And, after this, let Caesar seat him sure ; 
 
 For we will shake him, or worse days endure. — yul. C, i. 2. 
 
 Away, and mock the time with fairest show : 
 
 False face must hide what the false heart doth know, — Macb., i. 7. 
 
 Till then sit still, my soul : foul deeds will rise, 
 
 Though all the earth o'ewhelm them, to men's eyes. — Hamlet, i. 2. 
 
 Let me, if not by birth, have lands by wit : 
 
 All with me 's meet that I can fashion Jit. — Lear, 1.2. 
 
 For if such actions may have passage /rec, 
 
 Bond-slaves and pagans shall our statesmen be. — 0th., i. 2. 
 
 Ah, women, women ! come ; we have no friend 
 
 But resolution, and the briefest end. — Ant. &• C, iv. 13. 
 
 Do as I bid thee : there 's no more to say ; 
 
 Accessible is none but Milford way. — Cym., iii. 2. 
 
 Thaliard, adieu ! Till Pericles be dead. 
 
 My heart can lend no succour to ray head. — Per., i. i. 
 
 " The Winter's Tale " is the only one of Shakespeare's plays which 
 does not afford an instance of the dialogue in a scene ending with a 
 rhyming couplet. 
 
 ' S ' ADDED OR OMITTED IN THE FIRST FOLIO. 
 
 Among the many typographical inaccuracies of the 1623 Folio, is 
 that of adding a final ' s ' to a word which should obviously not have it 
 appended, and of omitting a final ' s ' or ' 's ' in a word which obviously 
 requires either of these conclusions. It is needful therefore to bear in 
 mind this peculiar error of the First Folio printer, when judging certain 
 passages written by Shakespeare ; and we here collectively cite several 
 passages that have given rise to debate upon the point in question. 
 The italicised words in the following passages are printed in the 1623 
 Folio with an erroneously added ' s ' : — 
 
 A man who is the abstract of all faults 
 
 That all men follow. — Ant. &• C, i. 4. 
 
 Farther than he is Ccesar. — Ibid., iii. 11. 
 
 She, Eros, has pack'd cards with Casar. — Ibid., iv. 12. 
 
 Their discipline 
 (Now mingled with their courage) will make known. — Cym., ii. 4. 
 Most miserable is the desire that 's glorious. — Ibid., i. 7. 
 Whose subdu'd eyes . . . drop tears as fast. — 0th., v. 2. 
 By the hangman* boys in the market-place. — Tw. G. of V., iv. 4. 
 There hath been in Rome strange insurrection. — Coriol., iv. 3. 
 
 Our bloods 
 No more obey the heavens than our courtiers 
 Still seem as does the king. — Cym., i. i. 
 My lord\, farewell.— H. VIII., i. 2. 
 
 * Shakespeare elsewhere (" Much Ado About Nothing," iii. 2) uses " hangman " 
 as a nick-name. See Particular Names. 
 
 f As Abergavenny accompanies Buckingham to the Tower, the latter takes leave 
 merely of Norfolk. 
 
'S' ADDED OR OMITTED IN THE FIRST FOLIO. 677 
 
 For affection, 
 Master of passion, sways it to the mood 
 Of what it likes or loathes.— ^l/cj-. of V., iv. i. 
 I have assailed her with music, but she. — Cym., ii. 3. 
 And see, a book of prayer in his hand, — 
 True ornament to know a holy man.— i?. III., iii. 7. 
 When liver, brain, and heart. 
 These sovereign thrones, are all supplied and fill'd 
 (Her sweet perfection') with one self king ! — Tie. N., i. i. 
 Will nothing stick out person to arraign. — Hamlet, iv. 5. 
 
 The son of Duncan, 
 From whom this tyrant holds the due of birth. 
 Lives in the English court. — Macb.. iii. 6. 
 So foolish sorrow bids your stones farewell. — R. III., iv. i. 
 I am not made oi stone, but penetrable to. — Ibid., iii. 7. 
 What a full fortune does the t)dck-\\fs owe, if he. — Otk., i. i. 
 Have broke their sleeps with thought, their brains with care. — 2 H. IV., iv. 4. 
 With witchcraft of his wit, with traitorous gifts, 
 (O wicked wit, and gifts, that have the power 
 So to seduce !) won to his shameful lust. — Hamlet, i. 5. 
 For this the foolish over-careful fathers 
 Have broke their sleeps. . . . 
 For this they have engrossed and pil'd up 
 The canker'd heaps of strange-achieved gold; 
 For this they have been thoughtful to invest 
 Their sons with arts and martial exercises : 
 When, like the bee, tolling from every flower 
 The virtuous sweets. 
 
 Our thighs pack'd with wax, our mouths with honey. 
 We bring it to the hive ; and, like the bees. 
 Are murder'd for our pains. This bitter taste 
 Yield-\ his engrossments to the ending father. — 2 H. IV., iv. 4. 
 
 The italicised words in the following passages are printed in the 1623 
 Folio with the final ' s ' or ' 's ' omitted : — 
 
 How parted with your brothers.' How first met them ?^C_y»:., v. 5. 
 
 Ye see, I drink the water of mine eyes. — 3 H. VI., v. 4. 
 
 Left and abandon'd of his velvet friends. — As You L., ii. i. 
 
 Be that you seem, truly your country's friends. — Coriol., iii. i. 
 
 His sons he there proclaim'd the kings of kings. — Ant. & C, iii. 6. 
 
 The legions, now in Gallia, sooner landed. — Cym., ii. 4. 
 
 I have fair meanings, sir.— 
 
 And fair words to them. — Ant. &• C, ii. 6. 
 
 Half all men's hearts are his. — Cym., i. 7. 
 
 Hath he not passed the nobles and the commons ? — Coriol., iii. i. 
 
 Takes no account 
 How things go from him ; nor resumes no care 
 Of what is to continue. — Timon, ii. 2. 
 
 ' See PECtJLiAR Use of Words (page 576) for explanation of the mode in which the 
 word " perfection " is used, in the present passage and in two others, by Shakespeare, 
 with reference to the beautiful doctrine that prevailed in his time of marriage being 
 the perfectioning of a human being. 
 
 f The previous context of this sentence shows that the word "engrossments" 
 refers to the " heaps " which the over-careful fathers have " engrossed and pil'd up " ; 
 therefore the construction is — ' His engrossments yield this bitter taste to iJie ending 
 father.' 
 
678 THE SHAKESPEARE KEY. 
 
 How many ages hence 
 Shall this our lofty scene be acted over 
 In states unborn and accents yet unknown ! — yul. C, iii. i. 
 
 She s a lady 
 So tender of rebukes, that words are strokes, 
 And strokes death to her. — Cym., iii. 5. 
 But even the very middle of my heart 
 Is warm'd by the rest, and takes it thankfully. — Ibid., i. 7. 
 The things I have forsworn to grant may never 
 Be held by you denials. — CoWoi., v. 3. 
 So our z'irtues 
 Lie in the interpretation of the time. — Ibid., iv. 7. 
 
 The first line in the following passage is printed thus in the First 
 Folio : ' When many times the captiue Grecian fals ' ; but the word 
 " them," in the third line, shows the ' s ' to be misplaced : — 
 
 When many times the captive Grecians fall, 
 Even in the fan and wind of your fair sword, 
 You bid them rise, and live. — Tr. &• Cr., v. 3. 
 
 In the earliest printed editions of " Pericles " (which is not included 
 among the plays in the 1623 Folio) there occur some of these additions 
 and omissions of the final ' s ' or ' 's ' in a word. The italicised words 
 in the following passages have an erroneously added ' s ' : — 
 
 By Cleon train'd in music, letters. — Per,, iv. {Gowcr). 
 
 His woful queen we leave at Ephesus, 
 
 Unto Diana there a votaress. — Ibid., iv. [Gower). 
 
 And the italicised words in the following passages have the final ' s ' 
 or ' 's' omitted : — 
 
 Sure, all 's effectless ; yet nothing we '11 omit. — Ibid., v. i. 
 
 This cannot be: my daughter's buried. — Ibid., v. i. 
 
 Whose death 's, indeed, the strongest in our censure. — Ibid., ii. 4. 
 
 And leaves us to our free election. — Ibid., ii. 4. 
 
 Where now his son 'i like a glow-worm in the night. — Ibid., ii. 3. 
 
 SARCASMS. 
 
 Into the mouths of two of his gentlest women, Shakespeare has put 
 bitter sarcasms ; worded quietly, but none the less forcible and intense 
 for their very temperance of expression. Cordelia, led in captive with 
 her cruelly aggrieved father, inquires : — 
 
 Shall we not see these daughters and these sisters .' — Lear, v. 3. 
 
 And Imogen, in reply to Cymbeline's storm of reproaches at the very 
 moment he banishes her husband from her side, says : — 
 
 I beseech you, sir, 
 Harm not yourself with your vexation : 
 I am senseless of your wrath ; a touch more rare 
 Subdues all pangs, all fears. — Cym., i. 2. 
 
 Again, when Pisanio, telling Imogen that he has received her hus- 
 band's command to kill her, adding, " Oh, gracious lady, since I 
 
SATIRE. 679 
 
 receiv'd command to do this business I have not slept one wink," she, 
 with sarcastic quietude, repUes :— 
 
 Do 't and to bed then. — Cytn., iii. 4. 
 
 With equal yet quite another force of effect, Shakespeare has put 
 into the -mouths of vehement and vicious-natured women sarcastic 
 speeches remarkable for quiet wording, yet strength of sneer. Lady 
 Macbeth, when her husband is aghast at the apparition of the murdered 
 man sitting at the very festal board in the seemingly empty seat, 
 exclaims : — 
 
 Shame itself! 
 Why do you make such faces ? When all 's done, 
 You look but on a stool. — Macb., iii. 4. 
 
 Goneril greets Edmund with the words : — 
 
 Welcome, my lord : I marvel our mild husband 
 Not met us on the way. — Lear, iv. 2. 
 
 Cleopatra asks after Marc Antony's wife Fulvia by an epithet which, 
 in the mouth of the imperial courtesan, is a superb scoff: — 
 What says the married woman ? — Ant. & C, i. 3. 
 
 And she afterwards alludes to his wife Octavia with terms that, used 
 by the " Serpent of old Nile," signify profoundest scorn : — 
 
 Your wife Octavia, with her modest eyes 
 And still conclusion, shall acquire no honour 
 Demuring upon me. — Ibid., iv. 13. 
 
 Dionyza heaps contempt upon her husband Cleon's less unscrupu- 
 lous character and his remorse for their joint deed in words of cutting 
 taunt that are akin to Lady Macbeth's diction. They are well worthy 
 the same dramatist's hand who, later on in his career, depicted that 
 grandly drawn impersonation of criminal ambition : — 
 
 Cleon . . . What canst thou say 
 When noble Pericles shall demand his child ? 
 
 Dionyza. That she is dead. Nurses are not the fates, 
 To foster, nor ever to preserve. 
 She died at night ; I '11 say so. Who can cross it ? 
 Unless you play the pious innocent. 
 And for an honest attribute cry out, 
 " She died by foul play " . . . 
 
 . . . Be one of those that think 
 The petty wrens of Tkarsus will fly hence. 
 And open this to Pericles. I do shame 
 To think of what a noble strain you are, 
 Andof how coward a spirit. . 
 You are like one that superstitiously 
 Doth swear to the gods that winter kills the flies. — Per., iv. 4. 
 
 SATIRE. 
 
 Amid the numberless indirect satires upon the crimes, the vices, 
 the errors, the follies, and the mistakes of mankind, that may be traced 
 through all his plays and characters, there are to be found some 
 passages of more direct satire in Shakespeare's works. He satirises 
 
680 THE SHAKESPEARE KEY. 
 
 a fashion that prevailed in his time of painting the cheeks ; together 
 with other feminine affectations of manner : — 
 
 I have heard of your paintings too, well enough ; God hath given you one face, and 
 you' make yourselves another: you jig, you amble, and you lisp, and nickname God's 
 creatures, and make your wantonness your ignorance. — Hamlet, iii. i. 
 
 And another fashion, of wearing false hair : — 
 
 Oh, if in black my lady's brows be deckt. 
 
 It mourns that painting and usurping hair 
 
 Should ravish doters with a false aspect ! — Love's L. L, iv. 3. 
 
 So are those crisped snaky golden locks. 
 
 Which make such wanton gambols with the wind. 
 
 Upon supposed fairness, often known 
 
 To be the dowry of a second head. 
 
 The skull that bred them in the sepulchre. — Her. of V., iii. 2. 
 
 And others,, of foppishly curling the hair, and trimming or dyeing the 
 beard : — 
 
 A serving-man, proud in heart and mind ; that curled my hair ; wore gloves in my 
 cap. — Lear, iii. 4. 
 
 The wealthy curled darlings of our nation. — 0th., i. 3. 
 
 The barber's man hath been seen with him ; and the old ornament of his cheek has 
 already stuffed tennis-balls. — Indeed, he looks younger than he did, by the loss of a 
 beard. — M. Ado, iii. 2. 
 
 What beard were I best to play it in ? ... I will discharge it in either vour 
 straw-colour beard, your orange-tawny beard, your purple-in-grain beard, or your 
 F'rench-crown-colour beard, your perfect yellow. — Mid. N. D., i. 2. 
 
 Others, of fantastical styles in dress, and fanatical adoption of 
 foreign modes: — 
 
 There is no appearance of fancy in him, unless it be a fancy that he hath to strange 
 disguises ; as, to be a Dutchman to-day, a Frenchman to-morrow ; or in the shape of 
 two countries at once ; as, a German from the waist downward, all slops, and a 
 Spaniard from the hip upward, no doublet. Unless he have a fancy to this foolery, as 
 it appears he hath, he is no fool for fancy, as you would have it appear he is. — 
 M. Ado, iii. 2. 
 
 And one Deformed is one of them ; I know him ; 'a wears a lock [meaning a long 
 lock of hair, sometimes called a love-lock ; a. fashion originally introduced from the 
 Continent by young gallants, and afterwards adopted by ruffianly fellows and thievesj. 
 — Ibid., iii. 3. 
 
 How oddly he is suited ! I think he bought his doublet in Italy, his round hose in 
 France, his bonnet in Germany, and his behaviour everjnvhere. — Mer. of V., i. 2. 
 
 Farewell, Monsieur Traveller ; look, you lisp, and wear strange suits; disable all 
 the benefits of your own country ; be out of love with your nativity, and almost chide 
 God for making you that countenance you are ; or I will scarce think you have swam 
 in a gondola. — As You L., iv. i. 
 
 Your son was misled with a snipt-taffeta fellow there, whose villanous saffron would 
 have made all the unbaked and doughy youth of a nation of his colour . . that red- 
 tailed humble-bee I speak of. — All's W., iv. 5. 
 
 Report of fashions in proud Italy, 
 Whose manners still our tardy apish nation 
 Limps after, in base imitation. — R. II., ii. i. 
 Duck with French nods and apish courtesy. — R. III., i. 3. 
 Is 't possible the spells of France should juggle 
 Men into such strange mysteries ? — 
 New customs. 
 Though they be never so ridiculous, 
 Nay, let 'em be unmanly, j'et are foUow'd. — 
 
SATIRE. 68i 
 
 As far as I see, all the good our English 
 
 Have got by the late voyage is but merely 
 
 A fit or two o' the face ; but they are shrewd ones ; 
 
 For when they hold 'em, you would swear directly 
 
 Their very noses had been counsellors 
 
 To Pepin or Clotharius, they keep state so. — 
 
 They have all new legs, and lame ones : one would take it, 
 
 That never saw them pace before, the spavin 
 
 Or springhalt reign'd among them. — 
 
 Death ! my lord. 
 Their clothes are after such a pagan cut too, 
 That, sure, they've worn out Christendom. — H. VIII., i. 3. 
 A great man, I '11 warrant ; I know by the picking on 's teeth. — W. T., iv. 3. 
 
 Now your traveller, — 
 He and his toothpick at my worship's mess ; 
 And when my knightly stomach is suffic'd, 
 Why then I suck my teeth, and catechise 
 My picked man of countries: — " My dear sir," 
 Thus, leaning on mine elbow, I begin, 
 " I shall beseech you " — that is question now ; 
 And then comes answer like an Absey-book: 
 " Oh, sir," says answer, " at your best command ; 
 At your employment ; at your service, sir ; " 
 " No, sir," says question, " I, sweet sir, at yours : " 
 And so, ere answer knows what question would, — 
 Saving in dialogue of compliment. 
 And talking of the Alps and Appenines, 
 The Pyrannean, and the river Po, — 
 It draws towards supper in conclusion so. 
 But this is worshipful society. — John, i. i. 
 
 In the following passages he satirises a fashion affected by amorous 
 young gentlemen of wearing slovenly attire : — 
 
 Oh, that you had mine eyes; or your own eyes had the lights they were wont to have 
 when you chid at Sir Proteus for going ungartered ! — 
 What should I see then ? — 
 
 Your own present folly, and her passing deformity ; for he, being in love, could not 
 see to garter his hose ; and you, being in love, cannot see to put on your hose. — Two 
 G.ofV.,ii. I. 
 
 A beard neglected, — which you have not . . . your hose should be ungartered, your 
 bonnet unhanded, your sleeve unbuttoned, your shoe untied, and everything about 
 you demonstrating a careless desolation ; but you are no such man, — you are rather 
 point-device in your accoutrements, as loving yourself, than seeming the lover of any 
 other. — As You L., iii. 2. 
 
 Lord Hamlet, — with his doublet all unbrac'd ; 
 
 No hat upon his head ; his stockings foul'd, 
 
 Ungarter'd and down-gyved to his ancle ; 
 
 Pale as his shirt ; his knees knocking each other ; 
 
 And with a look so piteous in purport 
 
 As if he had been loosed out of hell 
 
 To speak of horrors, — he comes before me. — 
 
 Mad for thy love ? — Hamlet, ii. i. 
 
 In the following he satirises several accomplishments in which those 
 who wished to acquire the reputation of being dashing fellows strove 
 for proficiency : — 
 
 I am sworn brother to a leash of drawers ; and can call them all by their Christian 
 names, as, — Tom, Dick, and Francis. They take it already upon their salvation, that 
 though I be but Prince of Wales, yet I am the king of courtesy ; and tell me flatly 
 I am no proud Jack, like Falstaff ; but a Corinthian, a lad of mettle, a good boy, (by 
 
682 THE SHAKESPEARE KEY. 
 
 the Lord, so they call me,) and when I am king of England, I shall command all the 
 good lads in Eastcheap. They call drinking deep, dyeing scarlet ; and when you 
 breathe in your watering, they cry " Hem ! " and bid you play it off. To conclude, I am 
 so good a proficient in one quarter of an hour, that I can drink with any tinker in his 
 own language during my Hfe. — i H. IV., ii. 4. 
 
 He plays at quoits well; and eats conger and fennel ; and drinks off candles'-ends 
 for flap-dragons ; and rides the wild mare with the boys ; and jumps upon joint-stools ; 
 and swears with a good grace ; and wears his boot very smooth, like unto the sign of 
 the leg; and breeds no bate with telling of discreet stories; and such other gambol 
 faculties he has, that show a weak mind and an able body, for the which the prince 
 admits him ; for the prince himself is such another ; the weight of a hair will turn the 
 scales between their avoirdupois. — 2 H. IV., ii. 4. 
 
 In the next he satirises the vice of immoderate drinking : — 
 
 I learned it in England, where, indeed, they are most potent in potting : your Dane, 
 your German, and your swag-bellied Hollander . . . are nothing to your English . . . 
 he drinks you, with facility, your Dane dead drunk; he sweats not to overthrow your 
 Almain ; he gives your Hollander a vomit, ere the next pottle can be filled. — 0th., ii. 3. 
 
 In the next he satirises a set of boasters who gain false reputation 
 for courage and military experience : — 
 
 Why, 'tis a gull, a fool, a rogue, that now and then goes to the wars, to grace 
 himself, at his return into London, under the form of a soldier. And such fellows are 
 perfect in the great commanders' names : and they will learn you by rote wljere 
 ser\'ices were done ; — at such and such a sconce, at such a breach, at such a convoy ; 
 who came off bravely, who was shot, who disgraced, what terms the enemy stood on ; 
 and this they con perfectly in the phrase of war, which they trick up with new-tuned 
 oaths : and what a beard of the general's cut, and a horrid suit of the camp, will do 
 among foaming bottles, and ale-washed wits, is wonderful to be thought on. — 
 H. v., iii. 6. 
 
 And, in the next, another set of vapouring braggarts : — 
 
 Scambling, out-facing, fashion-mong'ring boys, 
 
 That lie, and cog, and flout, deprave, and slander. 
 
 Go anticly, and show outward hideousness. 
 
 And speak off half a dozen dangerous words. 
 
 How they might hurt their enemies, if they durst. — M. Ado, v. i. 
 
 In the following passages he satirises the absurd " laws of the 
 duello," and the coxcombries of professed duellists : — 
 
 Cupid's butt-shaft is too hard for Hercules' club ; and therefore too much odds for a 
 Spaniard's rapier. The first and second cause will not serve my turn ; the passado he 
 respects not, the duello he regards not : his disgrace is to be called boy ; but his glory 
 is, to subdue men. — Love's L. L., i. 2. 
 
 I have had four quarrels, and like to have fought one. — And how was that ta'en up ? — 
 Faith, we met, and found the quarrel was upon the seventh cause. — How seventh 
 cause ? . . . how did you find the quarrel on the seventh cause ? — Upon a lie seven 
 times removed . . . I did dislike the cut of a certain courtier's beard: he sent me word, 
 if I said his beard was not cut well, he was in the mind it was : this is called the Retort 
 courteous. If I sent him word again, it was not well cut, he would send me word, he 
 cut it to please himself; this is called the Quip modest. If again, it was not well cut, 
 he disabled my judgment: this is called the Reply churlish. If again, it was not well 
 cut, he would answer, I spake not true: this is called the Reproof valiant. If again, 
 it was not well cut, he would say, I lie : this is called the Countercheck quarrelsome : 
 and so to the Lie circumstantial and the Lie direct. — And how oft did you say, his 
 beard was not well cut ? — I durst go no farther than the Lie circumstantial, nor he 
 durst not give me the Lie direct ; and so we measured swords and parted. — Can you 
 nominate in order now the degrees of the lie ? — Oh, sir, we quarrel in print, by the 
 book; as you have books for good manners: I will name you the degrees. The first, 
 the Retort courteous ; the second, the Quip modest ; the third, the Reply churlish ; the 
 fourth, the Reproof valiant ; the fifth, the Countercheck quarrelsome ; the sixth, the 
 
SATIRE. 683 
 
 Lie with circumstance ; the seventh, the Lie direct. All these you may avoid, but the 
 Lie direct ; and you may avoid that too, with an " if." I knew when seven justices 
 could not talce up a quarrel ; but when the parties were met themselves, one of them 
 thought but of an " if," as, " If you said so, then I said so " : and they shook hands, 
 and swore brothers. Your "if" is the only peace-maker; much virtue in "if." — As 
 You X,., V. 4. 
 
 But thou liest in thy throat * . . . Thou killest me like a rogue and a villain.— Still 
 you keep on the windy side of the law.f — Tw. N., iii. 4. 
 
 There 's no remedy, sir ; he will fight with you for 's oath sake : marry, he hath 
 better bethought him of his quarrel, and he finds that now scarce to be worth talking 
 of : therefore draw, for the supportance of his vow ; he protests he will not hurt you 
 . . . Come, Sir Andrew, there 's no remedy ; the gentleman will, for his honour's sake, 
 have one bout with you ; he cannot by the duello avoid it : but he has promised me, as 
 he is a gentleman and a soldier, he will not hurt you. — Ibid., iii. 4. 
 
 He is the courageous captain of compliments. He fights as you sing prick-song, 
 keeps time, distance, and proportion ; rests me his minim rest, one, two, and the third 
 in your bosom ; the very butcher of a silk button, a duellist, a duellist ; a gentleman of 
 the very first house, — of the first and second cause : ah, the immortal passado ! the 
 punto reverso ! the hay ! — R. &• yul., ii. 4. 
 
 In the following he holds up to ridicule quarrellers for quarrelling's 
 sake ; and renders the satire the more pungent by putting it into the 
 mouth of one who picks a quarrel on the very first occasion, and loses 
 his life thereby : — 
 
 Thou art like one of those fellows that, when he enters the confines of a tavern, claps 
 me his sword upon the table, ana says, " God send me no need of thee ! " and, by the 
 operation of the second cup, draws it on the drawer, when, indeed, there is no need 
 . . . thou wilt quarrel with a man that hath a hair more, or a hair less, in his beard, 
 than thou hast: thou wilt quarrel with a man for cracking nuts, having no other 
 reason, but because thou hast hazel eyes ; what eye, but such an eye, would spy out 
 such a quarrel ? Thy head is as full of quarrels, as an egg is full of meat ; and yet thy 
 head hath been beaten as addle as an egg, for quarrelling. Thou hast quarrelled with 
 a man for coughing in the street, because he hath wakened thy dog that hath lain 
 asleep in the sun : didst thou not fall out with a tailor for wearing his new doublet 
 before Easter ? with another, for tying his new shoes with old riband ?^/6id., iii. i. 
 
 In the following there is keen satire and fine irony of commendation 
 implying profoundest censure, upon the reckless squandering of life and 
 wealth in a quarrel for supposed national aggrandisement : — 
 
 Truly to speak, and with no addition. 
 We go to gain a little patch of ground. 
 That hath in it no profit but the name. 
 To pay five ducats, five, I would not farm it ; 
 Nor will it yield to Norway, or the Pole, 
 A ranker rate, should it be sold in fee. — 
 Why, then the Polack never will defend it. — 
 
 * The phrase " in thy throat " was reckoned by the laws of duelling an inexpiable 
 affront, when appended to the form of giving the lie. " Thou liest " might be 
 explained away ; but " thou liest in thy throat " was an affront that could only be 
 washed out by blood. 
 
 f This refers to another appended phrase, pronounced by the laws of duelling to be 
 an inexpiable offence, save by fighting. It was just permissible to tell a gentleman he 
 behaved " like a rogue and a villain " ; but not to say " like a rogue and a villain, as 
 thou art." Fabian hoaxingly comforts Sir Andrew by assuring him that the wording 
 of his challenge keeps him on the safe side, and screened from the consequences of 
 infringing the laws of honour as laid down by the duellists' code ; but he omits to 
 point out the sentence (" thou liest in thy throat ") whereby he violates them. 
 
684 THE SHAKESPEARE KEY. 
 
 Yes, 'tis already garrison'd. — 
 
 Two thousand souls, and twenty thousand ducats, 
 
 Will not debate the question of this straw ; 
 
 This is the imposthume of much wealth and peace, 
 
 That inward breaks, and shows no cause without 
 
 Why the man dies. . . . Examples, gross as earth, exhort me : 
 
 Witness this army, of such mass and charge. 
 
 Led by a delicate and tender prince ; 
 
 Whose spirit, with divine ambition puff d, 
 
 Makes mouths at the invisible event ; 
 
 Exposing what is mortal, and unsure. 
 
 To all that fortune, death, and danger, dare, 
 
 Even for an egg-shell. Rightly to be great. 
 
 Is not to stir without great argument, 
 
 But greatly to find quarrel in a straw. 
 
 When honour's at the stake. . . I see 
 
 The imminent death of twenty-thousand men, 
 
 That, for a fantasy and trick of fame. 
 
 Go to their graves like beds ; fight for a plot 
 
 Whereon the numbers cannot try the cause. 
 
 Which is not tomb enough and continent 
 
 To hide the slain. — Hamlet, iv. 4. 
 
 And, in the following few lines, he gives a pungent satire upon 
 soldiering as a profitable profession : — 
 
 What would you have me do ? go to the wars, would you ; where a man may serve 
 seven years for the loss of a leg, and have not money enough in the end to buy him a 
 wooden one ? — Per., iv. 6. 
 
 In the following passages he satirises the affectation of larding 
 discourse with French scraps and phrases : — 
 
 Pourquoi, my dear knight ? — What is pourqiioi ? do or not do ? — Tw. N., i. 3. 
 
 Dieii vous garde, monsieur. — Et voiis atissi ; voire serviteur. — I hope, sir, you are 
 and I am yours. — Ibid., iii. i. 
 
 Speak it in French, king ; say, pardonnez may. . . . The chopping French we do 
 not understand. — R. II., v. 3. 
 
 That is the rendezvous of it. . . . Coupe le gorge ! that is the word. — H. V., ii. i. 
 
 These strange flies, these fashion-mongers, these pardonnez-mois, who stand so 
 much on the new form, that they cannot sit at ease on the old bench ? Oh, their 
 bans, their bans .' . . . Signior Romeo, bon jour '. there 's a French salutation to your 
 French slop. — J?. &• Jul., ii. 4. 
 
 In the following he satirises affectedly dashing and fantastical talk 
 \_See Affected Phr-^seology] : — 
 
 Noble heroes, my sword and yours are kin. Good sparks and lustrous, a word, 
 good metals : — you shall find in the regiment of the Spinii one Captain Spurio, with 
 his cicatrice, an emblem of war ; here on his sinister cheek ; it was this very sword 
 entrenched it : say to him, I live ; and observe his reports for me. . . . Mars dote on 
 you for his novices ! . . . Use a more spacious ceremony to the noble lords ; you have 
 restrained yourself within the list of too cold an adieu: be more expressive to them: 
 for they wear themselves in the cap of the time, there do muster true gait, eat, speak, 
 and move under the influence of the most received star ; and though the devil lead 
 the measure, such are to be followed : after them, and take a more dilated farewell. 
 —All's W., ii. I. 
 
 In the following he satirises would-be philosophers : — 
 
 They say miracles are past ; and we have our philosophical persons, to make 
 modern and familiar, things supernatural and causeless. Hence is it that we make 
 trifles of terrors; ensconcing ourselves into seeming knowledge, when we should 
 submit ourselves to an unknown fear. — Ibid., ii. 3. 
 
SATIRE. 685 
 
 In the following passages he has a gird at the pedantry of logic and 
 rhetoric : — 
 
 Then learn this of me : to have, is to have ; for it is a figure in rhetoric, that drink, 
 being poured out of a cup into a glass, by filling the one doth empty the other ; for all 
 your writers do consent that ipse is he : now, you are not ipse, for I am he. — As 
 You L., V. I. 
 
 For, as the old hermit of Prague, that never saw pen and ink, very wittily said to 
 a niece of King Gorboduc, " That, that is, is ; " so I, being master parson, am master 
 parson ; for what is that, but that ? and is, but is ? — Tin. N., iv. 2. 
 
 In the following passages he mocks at the fashion of affecting 
 melancholy — an affectation which was evidently a special object of 
 detestation to his cheerful and appreciative nature : 
 
 They say you are a melancholy fellow. — 
 
 I am so ; I do love it better than laughing. — 
 
 Those that are in extremity of either are abominable fellows, and betray themselves 
 to every modern censure worse than drunkards. — 
 
 Why, 'tis good to be sad and say nothing. — 
 
 Why, then, 'tis good to be a post. — 
 
 I have neither the scholar's melancholy, which is emulation : nor the musician's, 
 which is fantastical ; nor the courtier's, which is proud ; nor the soldier's, which is 
 ambitious; nor the laviryer's, which is politic; nor the lady's, which is nice ; nor the 
 lover's, which is all these ; but it is a melancholy of mine own, compounded of many 
 simples, extracted from many objects ; and, indeed, the sundry contemplation of my 
 travels ; which, by often rumination, wraps me in a most humorous sadness. — 
 
 A traveller ! By my faith, you have great reason to be sad : I fear you have sold 
 your own lands, to see other men's ; then, to have seen much, and to have nothing, is 
 to have rich eyes and poor hands. — 
 
 Yes, I have gained my experience. — 
 
 And your experience makes you sad : I had rather have a fool to make me merry, 
 than experience to make me sad ; and to travel for it too! — As You L., iv. i. 
 
 By my troth, I take my young lord to be a very melancholy man ... he will look 
 upon his boot and sing ; mend the ruff, and sing ; ask questions, and sing ; pick his 
 teeth, and sing. I know a man that had this trick of melancholy sold a goodly manor 
 for a song. — All's W., iii. 2. 
 
 Yet, I remember, when I was in France, 
 Young gentlemen would be as sad as night, 
 Only for wantonness. — yohn, iv. i. 
 
 In the following passages he satirises the assumption of its being an 
 aristocratic privilege to swear : — 
 
 Not swear it, now I am a gentleman ? Let boors and franklins say it, I '11 swear 
 it.—W. T., v. 2. 
 
 Swear me, Kate, like a lady as thou art, 
 A good mouth-filling oath : and leave " in sooth," 
 And such protest of pepper gingerbread, 
 To velvet-guards, and Sunday citizens. — i H. IV., iii. i. 
 A rascally yea-forsooth knave ! to bear a gentleman in hand, and then stand upon 
 security ! — 2 H. IV., i. 2. 
 
 In the following he satirises persons who are fidgettily anxious to 
 claim high relationship : — 
 
 Like those that are kin to the king ; for they never prick their finger but they say, 
 " There is some of the king's blood spilt." " How comes that ? " says he, that takes 
 upon him not to conceive. The answer is as ready as a borrower's cap, " I am the 
 king's poor cousin, sir." — 
 
 Nay, they will be kin to us, or they will fetch it from Japhet. — Ibid., ii. 2. 
 
686 THE SHAKESPEARE KEY. 
 
 In the following he amusingly depicts the cutting coolness with 
 which upstarts treat those who have suddenly become their inferiors in 
 rank : — • 
 
 " Good den, Sir Richard '' : — " God-a-mercy, fellow " ; — 
 
 And if his name be George, I '11 call him Peter ; 
 
 For new-made honour doth forget men's names, — 
 
 'Tis too respective and too sociable 
 
 For your conversion. — jfohn, i. i. 
 
 In the following he notes the vulgar anxiety for precedence and 
 priority : — 
 
 Make not a city feast of it, to let the meat cool ere we can agree upon the first place : 
 sit, sit. — Timoii, iii. 6. 
 
 In the following brief dialogue he pithily sets forth the style in which 
 ' back-stairs interest ' is used and succeeds in swaying the course of 
 public justice : — 
 
 Davy. I beseech you, sir, to countenance William Visor of Wincot against Clement 
 Perkes of the hill. 
 
 Shallow. There are many complaints, Davy, against that Visor : that Visor is an 
 arrant knave, on my knowledge. 
 
 Davy. I grant your worship that he is a knave, sir ; but yet, God forbid, sir, but a 
 knave should have some countenance at his friend's request. An honest man, sir, is 
 able to speak for himself, when a knave is not. I have served your worship truly, sir, 
 this eight years ; and if I cannot once or twice in a quarter bear out a knave against 
 an honest man, I have but a very little credit with your worship. The knave is mine 
 honest friend, sir ; therefore, I beseech your worship, let him be countenanced. 
 
 Shallow. Go to ; I say, he shall have no wrong. — 2 H. IV., v. i. 
 
 In the following passage, and in several others [See Alliteration], 
 Shakespeare ridicules the fashion of versifying with a profusion of 
 words having the same commencing letter: — 
 
 Whereas, with blade, with bloody blameful blade. 
 
 He bravely broach'd his boiling bloody breast. — Mid. N. D., v. i. 
 
 In the concluding portion of the following he, in his own subtle 
 vein of quiet humour, satirises the foppery of give-and-take criticism ; 
 implying praise, implying censure, yet giving definitely neither: — 
 
 The play, I remember, pleased not the million ; 'twas caviare to the general : but it 
 was (as I received it, and others, whose judgments in such matters cried in the top of 
 mine) an excellent play, well digested in the scenes, set down with as much modesty 
 as cunning. I remember, one said there were no salleis in the lines to make the matter 
 savoury , nor no matter in the phrase that might indict the author of affectation ; but 
 called it an honest method, as wholesome as sweet, and by very much more handsome 
 than fine. — Hamlet, ii. 2. 
 
 And, in the following, he satirises a wretched affectation (which 
 prevailed in his time, and which has subsisted since among other 
 persons besides "statists") of writing an illegible hand as a mark of 
 supposed superiority, and holding a clear handwriting to be a mere 
 vulgar and mechanical accomplishment : — 
 
 I sat me down ; 
 Devis'd a new commission ; wrote it fair : — 
 I once did hold it, as our statists do, 
 A baseness to write fair, and labour'd much 
 How to forget that learning ; but, sir, now 
 It did me yeoman's service. — Ibid., v. 2, 
 
SCENIC ARRANGEMENTS. 6S7 
 
 SCENIC ARRANGEMENTS. 
 
 In Shakespeare's time, stage scenery and machinery were of so 
 meagre a kind that the dramatic author had need to rely greatly upon 
 the vividness of his own descriptions and the imagination of his 
 audiences, to aid in conveying impression of locality and situation. 
 
 When we remember how inadequate were theatrical representative 
 appointments at the period he wrote, we can the more keenly appreciate 
 our author's being equal to the need there was for power of description 
 in such passages as those that place before our eyes the loveliness of 
 the enchanted island in "The Tempest"; the sylvan beauties of the 
 forest of Arden in " As You Like It " ; the moonlit wood-glades in "A 
 Midsummer Night's Dream"; the battle-fields of Agincourt, Shrewsburj', 
 and Tewkesbury in his historical plays ; his castle platforms, blasted 
 heaths, and midnight tempests in his tragedies of " Hamlet," 
 "Macbeth," and "Lear." When we think of the inefficient repre- 
 sentation of shipboard that existed in his time, we the better recognise 
 the marvellous force and poetry of his diction in such passages as 
 those that open the play of " The Tempest," and the one that opens 
 the third act of" Pericles " ; passages that set the actors in these scenes 
 face to face with the roar of the elements, and let us positively behold 
 them exposed to the full sweep of the storm, on a sea-washed deck. So 
 poor were the scenic resources in the Elizabethian era, that they 
 consisted of little more than mere walls, hung round with well-worn 
 tapestry. A curtain, technically called "a traverse," formed an 
 occasional substitute for a scene, and was used as an indication ot 
 adjoining apartments, an inner room, &c. ; a few boards put together 
 served to represent towers, battlements, caves, tombs, or other such 
 needed accessories. 
 
 The upper portion of the stage decoration, technically called "the 
 heavens," represented the sky; but when the performance was of a 
 tragic character, the upper and side portions of the stage were hung 
 with black. To this particular, there is probably figurative reference 
 in the following passage : — 
 
 Hung be the heavens with black, yield day to night. — i H. VI., i. i. 
 
 The back of the stage was fitted up with a raised platform or balcony 
 to which curtains were appended ; and this was used when it was re- 
 quisite that some of the characters in the drama should be supposed 
 to appear at a window, or to be occupj'ing any other elevated position 
 overlooking the front portion of the stage, where the rest of the 
 performers were. In the following passages, we find trace of this 
 antique stage arrangement ; and we give them as printed in the First 
 Folio, in order the more clearly to make these particulars apparent : — 
 
 Enter aloft the drunkard with attendants, some with apparel. Bason and Ewer, and 
 other appurtenances, and Lord. — Tarn, of S., Indue. 2. 
 
 [Exeunt.'] The Presenters aboue speakes. 
 
 I Man. My lord, you nod, you do not minde the play. 
 
 Beg. Yes by Saint Anne do I, a good matter surely : 
 Conies there any more of it ? 
 
 Lady. My lord, 'tis but begun. 
 
 Beg. 'Tis a verie excellent peece of worke, Madame Ladie: would 'twere done. 
 They sit and marke. — Ibid., i. i. 
 
688 THE SHAKESPEARE KEY. 
 
 Enter Elianor aloft. [Sec Stage Directions, &c.] — 2 H. VI., i. 4. 
 Enter Richard aloft, between two Bishops. — R. III., iii. 7. 
 Enter the Kin^, and Buts, at a Windowe aboue. 
 
 Buts. He shew your Grace the strangest sight. 
 
 King. What 's that Buts ? 
 
 Butts. I thinke your Highnesse saw this many a day. 
 
 Kin. Body a me : where is it ? 
 
 Butts. There, my Lord : 
 The high promotion of his Grace of Canterbury, 
 Who holds his State at dore 'mongst Purseuants, 
 Pages, and Foot-boyes. — H. VIII., v. 2. 
 
 Enter Romeo and yidict aloft. 
 
 yul. Wilt thou be gone ? It is not yet neere day. — R. &> Jul., iii. 3. 
 Enter Cleopatra, and her Maides aloft, with Charmian and Iras. 
 
 Cleo. Oh, Charmian, I will neuer go from hence. . . .' 
 . . . Oh, come, come. come. 
 
 They heaue Anthony aloft to Cleopatra. 
 And welcome, welcome. — Ant. &• C, iv. 13. 
 
 The scantiness of stage appointments may be estimated by the fact 
 that frequently a change of scene from an exterior to an interior was 
 signified by the mere introduction of a few tables and chairs ; or even 
 by two or three words, indicative of altered place, put into the mouth 
 of one of the speakers. In the first of the following passages, the com- 
 mencement of the scene takes place in the lobby before the Council 
 Chamber ; but proceeds to display the inside of the Council Chamber 
 itself : though the change is only indicated in the First Folio by this 
 • stage direction : — 
 
 A Councell Table brought in with Chayres and Stooles, and placed under the State. 
 Enter Lord Chancellour. places himselfe at the vpper end of the Table, on the leftc 
 hand : A Seate being left void aboue him, as for Canterburies Seate. Duke of 
 Suffolhe, Duke of Norfolke, Surrey, Lord Chamberlaine, Gardiner, seat them- 
 selves in Order on each side. Cromwell at lower end, as Secretary. — H. VIII., v. 2. 
 
 In the second passage, there is no indication whatever in the First 
 Folio of the locality in which the scene takes place : but the dialogue 
 denotes that we are first supposed to seethe " street " where the Sooth- 
 sayer encounters Csesar, where Artemidorus presents his petition, and 
 where Decius presents that of Trebonius, while the imperial procession 
 is on its way to the Capitol ; and that we are subsequently supposed to 
 behold Cassar and his train enter the Capitol itself, where he takes his 
 seat amid the assembled " senate." The exigencies of the successive 
 scene require that both the outside and the inside of the Capitol should 
 be visible to the audience during the progress of representation ; but 
 there is no other denotement in the Folio of the shifting scene than 
 what may be gathered from the dialogue itself : — 
 
 What ! urge you your petitions in the street ? 
 Come to the Capitol. . . . 
 
 . . . What is now amiss 
 That Caesar and his senate must redress ? — y«7. C, iii. i. 
 
 In the third passage, the requirements of the scene demand that 
 both the outside and the inside of Cleopatra's monument should be seen 
 by the audience as the action progresses ; and the modern editions of 
 this play give stage directions, &c. (made up for the most part from 
 
SCENIC ARRANGEMENTS. S8g 
 
 Plutarch's narrations of the incidents here dramatised by Shakespeare), 
 that shall explain the situation ; but in the First Folio edition no indi- 
 cation is given of the scenic arrangements, which can only be inferred 
 [See Stage Directions, &c.] : — 
 
 You see how easily she may be surpris'd : 
 
 Guard her till Caesar come. 
 
 Royal queen ! 
 
 O Cleopatra, thou art taken, queen! — Aiit. &• C, v. 2. 
 
 In the fourth passage, the situation requires that we should see the 
 deck of the ship, and then the cabin where Thaisa is lying apparently 
 dead ; but the original editions give no stage direction. It is probable 
 that at the nurse's words, "Here she lies, sir," the speaker put by a 
 curtain — most likely the one called "a traverse" — and disclosed the 
 recumbent figure of Pericles' wife, whom he proceeds to address in 
 those affecting farewell terms : — 
 
 Lychorida. Here she lies, sir. 
 
 Pericles. A terrible child-bed hast thou had, my dear ; 
 No light, no fire : the unfriendly elements 
 Forgot thee utterly ; nor have I time 
 To give thee hallow'd to thy grave, but straight 
 Must cast thee, scarcely coffin'd, in the ooze ; 
 Where, for a monument upon thy bones. 
 And aye-remaining lamps, the belching whale 
 And humming waters must o'envhelm thy corpse. 
 Lying with simple shells. — Per., iii. i. 
 
 In the fifth passage, the original copies of the play give no stage 
 direction ; but the words, " Behold him," imply that a curtain was 
 withdrawn, discovering Pericles absorbed in grief: — 
 
 Lysimachus. May we not see him ? 
 
 Helicanus. You may ; 
 But bootless is your sight ; he will not speak 
 To any. 
 
 Lysimachus. Yet let me obtain my wish. 
 
 Helicanus. Behold him. 
 This was a goodly person. 
 Till the disaster that, one mortal night. 
 Drove him to this. — Ibid., v. i. 
 
 One of the stage usages of former times was the adoption of a par- 
 ticular garment ; which gave token that its wearer was supposed to be 
 invisible to the audience and to the other personages engaged in the 
 scene. It is probable that the following passage denotes the assuming 
 such a garment by Oberon, when he says : — 
 
 But who comes here ? I am invisible ; 
 
 And I will overhear their conference. — Hid. N. D., ii. 2. 
 
 Among the expedients for supplying the deficiencies of former stage 
 representation, it vyas not unfrequently the custom to introduce an 
 explanatory " apology " or " prologue," by way of justification, vindi- 
 cation, or elucidation : — 
 
 You shall present before her the Nine Worthies. . . . Where will you find men 
 worthy enough to present them? — Joshua, yourself; myself, or this gallant gentleman, 
 Judas Maccabaeus ; this swain, because of his great limb or joint, shall pass Pompey 
 the great; the page Hercules, — Pardon, sir; error: he is not quantity enousjh for 
 
 2 Y 
 
6go THE SHAKESPEARE KEY. 
 
 that Worthy's thumb : he is not so big as the end of his club. — Shall I have audience ? 
 he -shall present Hercules in minority : his enter and exit shall be strangling a snake ; 
 .and I will have an apology for that purpose. — An excellent device ! so, if any of the 
 audience hiss, you may cry, " Well done, Hercules ! now thou crushest the snake ! " 
 that is the way to make an offence gracious, though few have the grace to do it. — 
 Love's L. L., V. I. 
 
 I believe we must leav« the killing out, when all is done. — Not a whit : I have a 
 device to make all well. Write me a prologue ; and let the prologue seem to say. 
 we will do no harm with our swords, and that Pyramus is not killed indeed. . . . 
 Therefore another prologue must tell he is not a lion. — Mid. N. £)., iii. i. 
 
 It is among Shakespeare's merits, and forms one of the many proofs 
 of his being a dramatist far in advance of his own time, that he intro- 
 duced such clumsy expedients as those just cited merely in burlesque 
 performances like the Show of the " Nine Worthies " and the Interlude 
 of " Pyramus aind Thisbe." 
 
 SHAKESPEARE'S SELF-ILLUSTRATION AND COMMENT. 
 
 Shakespeare, of all other writers the least egoistical, gives little or no 
 token of himself in his writings. Shakespeare, the most perfect of 
 dramatists, lets little of his own individuality appear in his dramatic 
 characters. The only two instances we can recall where there is direci 
 introduction of his actual identity, in the whole course of his plays, are 
 the following : — 
 
 If you be not too much cloyed with fat meat, our humble author will continue the 
 story with Sir John in it. — 2 H. IV. {Epilogue). 
 
 Thus far, with rough and all-unable pen. 
 
 Our bending author hath pursued the story. — H. V.. v. 2 (Chorus). 
 
 In the brief prefaces to his two Poems, " Venus and Adonis " and 
 " Lucrece " there is of course absolute personal mention ; but, to our 
 thinking, it is instinct with modest, manly feeling, earnest fervour, and 
 noble self-dedication to exalted attachment and exalted purpose : just 
 the expression — at once reticent yet ardent — to be expected from the 
 devoted friend and author, William Shakespeare. In the " Sonnets," 
 there is the same spirit of modesty, fervour, and self-dedication ; but in 
 more intense degree, and with the utmost veiledness of diction. So 
 remarkable a self- revelation, couched in terms that tell nothing what- 
 ever of the person writing or the person addressed — so wonderful an 
 outpouring of inner heart thoughts and emotions, with no word of 
 betrayal concerning individual identity — we believe never existed, as 
 in those Sonnets. So warm with very heart-blood are they, so glowing 
 and impassioned are their every sentence, that we can never read them 
 without being moved to our own heart's core; yet there is in them 
 not a syllable that declares the personality of either their object or their 
 author. 
 
 But though, throughout his plays, there is little token of himself, yet 
 there are here and there certain touches from which we may gather 
 traces of his own tastes, predilections, opinions, and tendencies. 
 Markedly is deducible his passionate sense of friendship, attachment, 
 
SHAKESPEARE'S SELF-ILLUSTRATION AND COMMENT. 691 
 
 and preference, from several passages in his dramas [See Appreciation 
 OF Friendship and Particular Names] ; while as forcibly are denoted 
 his firm faith and pure morality by such passages as the following : — 
 
 Who by repentance is not satisfied, 
 
 Is nor of Heaven, nor earth ; for these are pleas'd. 
 
 By penitence th' Eternal's wrath 's appeas'd. — Two G. of V., v. 4. 
 
 Heaven doth with us, as we with torches do, — 
 
 Not light them for themselves ; for if our virtues 
 
 Did not go forth of us, 'twere all alike 
 
 As if we had them not. Spirits are not finely touch' d 
 
 But to fine issues. — M. for M., i. 1. 
 
 Our remedies oft in ourselves do lie, 
 
 Which we ascribe to Heaven : the fated sky 
 
 Gives us free scope ; only, doth backward pull 
 
 Our slow designs when we ourselves are dull. — All's W., i. i. 
 If powers divine 
 
 Behold our human actions (as they do), 
 
 I doubt not, then, but innocence shall make 
 
 False accusation blush, and tyranny 
 
 Tremble at patience. — W. T., iii. 2. 
 
 Heaven has an end in all. — H. VIII., ii. i. 
 
 He, that hath the steerage of my course, 
 
 Direct my sail ! — R. &■ ful., i. 4. 
 
 Love, give me strength ! and strength shall help afiford. — Ibid., iv. i. 
 My long sickness 
 
 Of health and living now begins to mend, 
 
 And nothing brings me all things. — Timon, v. 2. 
 
 Therein, ye gods, you make the weak most strong ; 
 
 Therein, ye gods, you tyrants do defeat : 
 
 Nor stony tower, nor walls of beaten brass. 
 
 Nor airless dungeon, nor strong links of iron. 
 
 Can be retentive to the strength of spirit. — J^ul. C, i. 3. 
 
 I do find it cowardly and vile. 
 
 For fear of what might fall, so to prevent 
 
 The time of life: — arming myself with patience, 
 
 To stay the providence of some high powers 
 
 That govern us below. — Ibid., v. i. 
 
 Nature, crescent, does not grow alone 
 
 In thewes and bulk ; but, as this temple waxes, 
 
 The inward service of the mind and soul 
 
 Grows wide withal. — Hamlet, i. 3. 
 
 Words without thoughts never to Heaven go. — Ibid., iii. 3. 
 
 Sure, He, that made us with such large discourse, 
 
 Looking before and after, gave us not 
 
 That capability and godlike reason, 
 
 To fust in us unus'd. — Ibid., iv. 4. 
 
 There 's a divinity that shapes our ends. 
 
 Rough-hew them how we will. — Ibid., v. 2. 
 There is a special providence in the fall of a sparrow. If it be now, 'tis not to come : 
 if it be not to come, it will be now ; if it be not now, yet it will come : the readiness is 
 all. — Ibid., V. 2. 
 
 Men must endure 
 
 Their going hence, even as their coming hither : 
 
 Ripeness is all. — Lear, v. 2. 
 
 The gods are just, and of our pleasant vices 
 
 Make instruments to plague us. — Ibid., v. 3. 
 
 2 Y 2 
 
692 THE SHAKESPEARE KEY. 
 
 Stoop, boys : this gate 
 Instructs you how to adore the heavens, and bows you 
 To morning's holy office .... Hail, thou fair heaven ! 
 We house i' the rock, yet use thee not so hardly 
 As proud livers do. — Hail, heaven ! — Hail, heaven ! — Cym., iii. 3. 
 
 Though those that are betray'd 
 Do feel the treason sharply, yet the traitor 
 Stands in worse case of woe. — Ibid., iii. 4. 
 There are none want eyes to direct them the way I am going, but such as wink, and 
 will not use them. — Ibid., v. 4. 
 
 Love all, trust a few. 
 Do wrong to none: be able for thine enemy 
 Rather in power than use ; and keep thy friend 
 Under thy own life's key : be check'd for silence, 
 But never tax'd for speech. — All's W., i. i. 
 
 Give thy thoughts no tongue. 
 Nor any unproportion'd thought his act. 
 Be thou familiar, but by no means vulgar. 
 The friends thou hast, and their adoption tried. 
 Grapple them to thy soul with hooks of steel ; 
 But do not dull thy palm with entertainment 
 Of each new-hatch'd, unfledg'd comrade. Beware 
 Of entrance to a quarrel ; but, being in. 
 Bear 't, that th' opposed may beware of thee. 
 Give every man thine ear, but few thy voice : 
 Take each man's censure, but reserve thy judgment. . . . 
 Neither a borrower, nor a lender be : 
 For loan oft loses both itself and friend ; 
 And borrowing dulls the edge of husbandry. 
 This above all, — to thine own self be true ; 
 And it must follow, as the night the day. 
 Thou canst not then be false to any man. — Hamlet, i. 3. 
 
 The following two passages show his delicate sense of propriety in 
 the matter of self-praise, and in the perception of what is due in ques- 
 tions of courtesy and frankness between man and man : — 
 
 If it be so, 
 
 How little is the cost I have bestow'd 
 
 In purchasing the semblance of my soul 
 
 From out the state of hellish cruelty ! 
 
 This comes too near the praising of myself; 
 
 Therefore, no more of it. — Mer. of V., iii. 4. 
 I perceive in you so excellent a touch of modesty, that you will not extort from me 
 what I am willing to keep in ; therefore it charges me in manners the rather to 
 express myself. ... A lady, sir, though it was said she much resembled me. was yet 
 of many accounted beautiful : but, though I could not, with such estimable wonder, 
 overfar believe that, yet thus far I will boldly publish her, — she bore a mind that envy 
 could not but call fair. — Tw. N., ii. i. 
 
 The following passages serve to evidence his trust in time as the 
 solver of many a perplexity and present difficulty : — 
 
 Time is the nurse and breeder of all good. — Two G. of V., iii. i. 
 
 We must away ; 
 Our waggon is prepar'd, and time revives us : 
 
 All's well that ends well : still the fine 's the crown. — AlVs W., iv. 4. 
 What else may hap, to time I will commit. — Tw. N., i. 2. 
 O Time, thou must untangle this, not I ; 
 It is too hard a knot for me t' untie ! — Ibid., ii. 2. 
 
SHAKESPEARE'S SELF-ILLUSTRATION AND COMMENT. 693 
 
 I must be patient till the heavens look 
 
 With an aspect more favourable. — W, T., ii. i. 
 
 Let time shape, and there an end. — 2 H. IV., iii. 2. 
 
 What means do you make to him ? — 
 Not any ; but abide the change of time ; 
 Quake in the present winter's state, and wish 
 That warmer days would come. — Cym., ii. 4. 
 We '11 even all that good time will give us. — Ibid., iii. 4. 
 All other doubts, by time let them be clear'd ; 
 Fortune brings in some boats that are not steer'd. — Ibid., iv. 3. 
 
 From the following we may gather his love of cheerfulness and 
 brightness of temper [See Satire for his denouncements of cultivated 
 melancholy] : — 
 
 With mirth and laughter let old wrinkles come ; 
 
 And let my liver rather heat with wine 
 
 Than my heart cool with mortifying groans. 
 
 Why should a man, whose blood is warm within. 
 
 Sit like his grandsire cut in alabaster ? 
 
 Sleep when he wakes ? and creep into the jaundice 
 
 By being peevish ? — Mer. of V., i. i. 
 He hears merry tales, and smiles not : I fear he will prove the weeping philosopher 
 when he grows old, being so full of unmannerly sadness in his youth. — Ibid., i. 2. 
 
 Frame your mind to mirth and merriment. 
 
 Which bars a thousand harms and lengthens life. — Tarn, of S., Indue. 2. 
 Falsiaff. . . . This same young sober-blooded boy doth not love me ; nor a man 
 cannot make him laugh. — 2 H. IV., iv. 3. 
 
 Seldom he smiles ; and smiles in such a sort 
 
 As if he mock'd himself, and scorn'd his spirit 
 
 That could be mov'd to smile at anything. 
 
 Such men as he be never at heart's ease 
 
 Whiles they behold a greater than themselves ; 
 
 And therefore are they very dangerous. — Jid. C, i. 2. 
 
 From the following may clearly be inferred his love of music, with 
 belief in its potent and benign influence : — 
 
 My mirth it much displeas'd, but pleas'd my woe. — 
 
 'Tis good ; though music oft hath such a charm 
 
 To make bad good, and good provoke to harm. — M.for M., iv. i. 
 
 And bring your music forth into the air. 
 
 How sweet the moonlight sleeps upon this bank ! 
 
 Here will we sit, and let the sounds of music 
 
 Creep in our ears : soft stillness and the night 
 
 Become the touches of sweet harmony. 
 
 Sit, Jessica : look, how the floor of heaven 
 
 Is thick inlaid with patines of bright gold: 
 
 There 's not the smallest orb which thou behold'st 
 
 But in his motion like an angel sings, 
 
 Still quiring to the young-ey'd cherubins : 
 
 Such harmony is in immortal souls ; 
 
 But whilst this muddy vesture of decay 
 
 Doth grossly close it in, we cannot hear it. 
 
 Enter Musicians. 
 Come, ho ! and wake Diana with a hymn : 
 With sweetest touches pierce your mistress' ear. 
 
 And draw her home with music. ■ IMusic. 
 
 Jessica. I am never merry when I hear sweet music. 
 Lorenzo. The reason is your spirits are attentive : 
 For do but note a wild and wanton herd. 
 
694 THE SHAKESPEARE KEY. 
 
 Or race of youthful and unhandled colts, 
 
 Fetching mad bounds, bellowing and neighing loud, 
 
 Which is the hot condition of their blood ; 
 
 If they but hear perchance a trumpet sound, 
 
 Or any air of music touch their ears. 
 
 You shall perceive them make a mutual stand. 
 
 Their savage eyes turn'd to a modest gaze. 
 
 By the sweet power of music: therefore the poet 
 
 Did feign that Orpheus drew trees, stones, and floods ; 
 
 Since naught so stockish, hard, and full of rage, 
 
 But music for the time doth change his nature. 
 
 The man that hath no music in himself, 
 
 Nor is not mov'd with concord of sweet sounds. 
 
 Is fit for treasons, stratagems, and spoils ; 
 
 The motions of his spirit are dull as night, 
 
 And his affections dark as Erebus : 
 
 Let no such man be trusted. Mark the music. — Mer. of V., v. i. 
 
 The cause why music was ordain'd ! 
 
 Was it not to refresh the mind of man. 
 
 After his studies, or his usual pain ? — Tarn, of S., iii. i. 
 
 Music, awake her ; strike ! [Musicl. — W. T., v. 3. 
 
 [Music] Music do I hear ? 
 Ha, ha! keep time; — how sour sweet music is. 
 When time is broke and no proportion kept ! 
 So is it in the music of men's lives. 
 And here have I the daintiness of ear 
 To check time broke in a disorder'd string ; 
 But, for the concord of my state and time, 
 Had not an ear to hear my true time 'broke. 
 I wasted time, and now doth time waste me ; . . . 
 This music mads me ; let it sound no more ; 
 For though it have holp madmen to their wits. 
 In me it seems it will make wise men mad. 
 Yet, blessing on his heart that gives it me ! 
 For 'tis a sign of love ; and love to Richard 
 Is a strange brooch in this all-hating world. — R. II., v. 5. 
 Let there be no noise made, my gentle friends ; 
 Unless some dull and favorable hand 
 Will whisper music to my weary spirit. — 
 Call for the music in the other room. — 2 H. IV., iv. 4. 
 
 So please your majesty 
 That we may wake the king ; he hath slept long. 
 Be govern'd by your knowledge, and proceed 
 r the sway of your own will . . . 
 
 Please you draw near. Louder the music there ! — Lear, iv. 7. 
 The rough and woful music that we have, 
 Cause it to sound, beseech you. . . . 
 The music there 1 I pray you, give her air. 
 Gentlemen, this queen will live. — Per., iii. 2. 
 
 That Shakespeare had a love for actors and a reverence for their voca- 
 tion, which was likewise his own adopted profession, may be gathered 
 from such passages as the following : — 
 
 I do not know the man I should avoid 
 So soon as that spare Cassius ; ... he loves no plays, 
 As thou dost, Antony ; he hears no music. — ytil. C, i. 2. 
 What players are they ? — 
 
 Even those you were wont to take delight in, the tragedians of the city. . . . Good 
 my lord, will you see the players well bestowed ? Do you hear, let them be well used ; 
 for they are the abstracts and brief chronicles of the time. — Hamlet, ii. 2. 
 
SHAKESPEARE'S SELF-ILLUSTRATION AND COMMENT. 695 
 
 In the following words there is probably allusion to his own Globe 
 theatre ; the sign of which was Hercules carrying the Globe : — 
 
 Do the boys carry it away ? 
 
 Ay, that they do, my lord ; Hercules and his load too. — Hamlet, ii. 2. 
 
 And in the four first lines of the following, how vividly is brought to 
 our mind the possibility that Shakespeare himself, with that extreme 
 modesty which characterised him, and which led him to play only short 
 parts in his own plays, often felt the eyes of the audience turned care- 
 lessly in his own direction while some better actor and the player of 
 a more prominent part had just quitted scene : — 
 
 As in a theatre, the eyes of men, 
 
 After a well-graced actor leaves the stage, 
 
 Are idly bent on him that enters next. 
 
 Thinking his prattle to be tedious ; 
 
 Even so, or with much more contempt, men's eyes 
 
 Did scowl on Richard. — R. II., v. 2. 
 
 We find pleasant token of his liking for brother authors ; not only in 
 traces of his calling to memory such writers as Virgil, Ovid, Plutarch, 
 Boccaccio, Rabelais, Montaigne, Chaucer, Petrarch, Raleigh, and 
 Spenser, but in actual quotations from his own contemporaries : as in 
 the two first of the following passages, from Christopher Marlowe ; and 
 in the third, from Sir Philip Sidney : — 
 
 " To shallow rivers, to whose falls 
 
 Melodious birds sing madrigals ; 
 
 There will we make our beds of roses, 
 
 And a thousand fragrant posies," — Merry W,-, iii. i. 
 
 Dead shepherd, now I find thy saw of might — 
 
 " Who ever lov'd that lov'd not at first sight ? " — As You L., iii. 5. 
 
 " Have I caught my heavenly jewel ?" — Merry W., iii. 3. 
 
 In the following passage he puts upon record his admiration of Italy ; 
 which he has made the scene of several of his most romantic plays : — 
 
 And toil'd with works of war, retir'd himself 
 
 To Italy ; and there, at Venice, gaVe 
 
 His body to that pleasant country's earth. — R. II., iv. 1. 
 
 In the following touches we fancy we can perceive indications of two 
 special points in feminine beauty which engaged Shakespeare's peculiar 
 interest and attention as sources of attractiveness to himself; for 
 though in the first passage "hair" seems to be lightly and playfully 
 treated, yet, be it observed, it forms the climax to the enumerated 
 requisites for winning favour : — 
 
 Till all graces be in one woman, one woman shall not come in my grace. Rich she 
 shall be, that 's certain ; wise, or I '11 none ; virtuous, or I '11 never cheapen her : fair, 
 or I '11 never look on her ; mild, or come not near me ; noble, or not I for an angel ; 
 of good discourse, an excellent musician, and her hair shall be of what colour it 
 please God. — M. Ado, ii. 3. 
 
 Bid him >. 
 
 Report the feature of Octavia, her years. 
 Her inclination, let him not leave out 
 The colour of her hair. — Ant. &• C, ii. 5. 
 Her hair, what colour ? — Ibid., iii. 3. 
 
 Her voice was ever soft, 
 Gentle, and low, — an excellent thing in woman. — Lear, v. 3. 
 
6g5 THE SHAKESPEARE KEY. 
 
 The followiDg words seem to us to picture Shakespeare's own mode 
 of sitting down to write — eager, full of his subject, the words coming 
 at will ; his teeming brains beginning a play, and seeing, all its scope 
 and bearings, ere he had well penned down the opening lines : — 
 
 Ere I could make a prologue to my brains, 
 They had begun the play, — I sat me down ; 
 Devis'd a new commission ; wrote it fair. — Hamlet, v. 2. 
 
 In such points as the following, we feel as if we witnessed the 
 author's relish of his own fun, where he makes Falstaff twice remain by 
 himself to chuckle and witticise over the peculiarities of Justice Shallow ; 
 and where he makes Enobarbus fairly run himself out of breath in his 
 jesting dialogue with Agrippa on the absurdities of Lepidus : — 
 
 As I return, I will fetch off these justices: I do see the bottom of Justice Shallow. 
 Lord, lord ! how, &c. — 2 H. IV., iii. 2. 
 
 If I were sawed into quantities, I should make four dozen of such bearded hermits' 
 staves as Master Shallow. It is a wonderful thing to see, &c. — Ibid., v. i. 
 
 'Tis a noble Lepidus. — A very fine one: oh, how he loves Cassar! — Nay, but how 
 dearly, &c — Ant.& C, iii 2. 
 
 And in a repeated particular like the following, how pleasantly we 
 detect his own enjoyment of a happy image and epithet : — 
 
 And then the lover. 
 Sighing like furnace, with a woful ballad 
 Made to his mistress' eyebrow. — As You L., ii. 7. 
 There is a Frenchman his companion, one 
 An eminent monsieur, that, it seems, much loves 
 A Gallian girl at home : he furnaces 
 The thick sighs from him. — Cym., i. 7. 
 
 In scores of such vestiges as the following, we are able to discern his 
 taste, knowledge, and observation, in rural natural philosophy: — 
 
 The strawberry grows underneath the nettle. 
 
 And wholesome berries thrive and ripen best, 
 
 Neighbour'd by fruit of baser quality : 
 
 And so the prince obscur'd his contemplation 
 
 Under the veil of wildness ; which, no doubt. 
 
 Grew like the summer grass fastest by night ; 
 
 Unseen, yet crescive in his faculty. — H. V., i. i. 
 
 Now, ere the sun advance his burning eye. 
 
 The day to cheer, and night's dank dew to dry, 
 
 I must up-fiU this osier cage of ours 
 
 With baleful weeds and precious-juiced flowers. — R. &• Jul., ii. 3. 
 
 Whiles yet the dew 's on ground, gather those flowers. — Cym., i. 6. 
 
 The following passages have often made us speculate upon the 
 question as to whether Will Shakespeare, notwithstanding his evident 
 knowledge of the popular creed that beef is injurious to clearness of 
 intellect, found this good old EngHsh* meat toothsome and wholesome 
 for his masculine appetite : — 
 
 What say you to a piece of beef and mustard ? — 
 
 A dish that I do love to feed upon. — Tarn, of S., iv. 3. 
 
 • For this national predilection, witness the old song ; — 
 Oh, the roast beef of old England ! 
 And, oh, the old English roast beef! 
 
SHAKESPEARE'S SELF-ILLUSTRATION AND COMMENT. figy 
 
 I am a great eater of beef, and I believe that does harm to my wit. — Tw. N., i. 3. 
 Thou mongrel beef-witted lord ! — Tr. &■ Cr., ii. i. 
 
 It is interesting to notice how this most modest and least self- 
 obtrusive of writers has occasionally and unconsciously commented 
 upon his own writing ; and we have frequently smiled, when coming 
 upon such passages as the following, to remark how the exigencies of 
 the dramatic dialogue and situation, as well as the eloquent power in 
 the words themselves, have forced upon the author the necessity of not 
 only commenting upon his own phrases, but of commending them: — 
 
 ! it is excellent, 
 To have a giant's strength ; but it is tyrannous 
 To use it like a giant. — 
 
 That's well said. — M.for M., ii. 2. 
 
 Go to your bosom : 
 Knock there, and ask your heart what it doth know 
 That 's like my brother's fault ; if it confess 
 A natural guiltiness such as his. 
 Let it not sound a thought upon your tongue 
 Against my brother's hfe. — 
 
 She speaks, and 'tis 
 Such sense, that my sense breeds with it. — Ibid., ii. 2. 
 
 For aught I see, they are as sick that surfeit with too much, as they that starve with 
 nothing ; it is no mean happiness, therefore, to be seated in the mean : superfluity 
 comes sooner by white hairs : but competency lives longer. — 
 
 Good sentences, and well pronounced. — Mer. of V., i. 2. 
 
 How dost thou like this tune ?— 
 It gives a very echo to the seat 
 Where love is thron'd. — 
 
 Thou dost speak masterly. — T'ui. N., ii. 4. 
 
 And what 's her history ? — 
 
 A blank, my lord. She never told her love. 
 
 But let concealment, like a worm i' the bud. 
 
 Feed on her damask cheek : she pin'd in thought ; 
 
 And, with a green and yellow melancholy, 
 
 She sat like patience on a monument, 
 
 Smiling at grief. Was not this love indeed ? — Ibid., ii. 2. 
 
 What you do 
 Still betters what is done. When you speak, sweet, 
 I'd have you do it ever. — W. T., iv. 3. 
 
 I cannot say it is pity 
 She lacks instructions, for she seems a mistress 
 To most that teach. — Ibid., iv. 3. 
 
 Arthur. Are you sick, Hubert ? you look pale to-day : 
 In sooth, I would you were a little sick, 
 That I might sit all night, and watch with you : 
 I warrant, I love you more than you do me. 
 
 Hubert [Aside). His words do take possession of my bosom. — jfohn,iv. i. 
 
 Falstaff. Men of all sorts take a pride to gird at me : the brain of this foolish-com- 
 pounded clay, man, is not able to invent anything that tends to laughter, more than I 
 invent, or is invented on me : / am not only witty in myself, but the cause that wit is 
 in other men. — 2 H. IV., i. 2. 
 
 O my son, 
 
 God put it in thy mind to take it hence. 
 
 That thou might'st win the more thy father's love. 
 
 Pleading so wisely in excuse of it ! — Ibid., iv. 4. 
 
SgS THE SHAKESPEARE KEY. 
 
 So did he turn, and over Suifolk's neck 
 
 He threw his wounded arm, and kiss'd his lips ; 
 
 And so, espous'd to death, with blood he seal'd 
 
 A testament of noble-ending love. 
 
 The pretty and sweet manner of it forc'd 
 
 Those waters from me which I would have stopp'd ; 
 
 But I had not so much of man in me, 
 
 And all my mother came into mine eyes. 
 
 And gave me up to tears. — 
 
 I blame you not ; 
 
 For, hearing this, I must perforce compound 
 
 With mistful eyes, or they will issue too. — H. V., iv. 6. 
 
 Tell me, wherein have I offended most ? 
 
 Have I affected wealth, or honour ? Speak. 
 
 Are my chests filled up with extorted gold ? 
 
 Is my apparel sumptuous to behold .' 
 
 Whom have I injur'd, that ye seek my death ? 
 
 These hands are free from guiltless blood shedding, 
 
 This breast from harbouring foul deceitful thoughts. 
 
 O, let me live ! — 
 I feel remorse in myself with his words ; but I '11 bridle it : he shall die, an it be but 
 or pleading so well for his life. — 2 H. VI., iv. 7. 
 
 These tears are my sweet Rutland's obsequies ; 
 
 And every drop cries vengeance for his death, 
 
 'Gainst thee, fell Clifford, and thee, false Frenchvroman. — 
 
 Beshrew me, but his passions move me so. 
 
 That hardly can I check my eyes from tears. — 3 H. VI., i. 4. 
 
 Live each of you the subjects to his hate. 
 
 And he to yours, and all of you to God's ! — 
 
 ily hair doth stand on end to hear her curses. — 
 
 And so doth mine. — R. III., i. 3. 
 
 The honour'd gods, 
 
 Keep Rome in safety, and the chairs of justice 
 
 Supplied with worthy men ! plant love among us I 
 
 Throng our large temples with the shows of peace, 
 
 And not our streets with war ! — 
 
 Amen, amen, 
 
 A noble wish. — Coriol., iii. 3. 
 
 Dismay'd not this 
 
 Our captains, Macbeth and Banquo ? — 
 
 Yes; 
 
 As sparrows eagles, or the hare the lion. 
 
 If I say sooth, I must report they were 
 
 As cannons overcharg'd with double cracks ; 
 
 So they redoubled strokes upon the foe : 
 
 Except they meant to bathe in reeking wounds, 
 
 Or memorize another Golgotha, 
 
 I cannot tell ; — 
 
 But I am faint, my gashes cry for help. — 
 
 So well thy words become thee as thy wonnds ; 
 
 They smack of honour both. — Macb., i. 2. 
 
 I would not take this* from report ; it is. 
 
 And my heart breaks at it. — Lear, iv. 6. 
 First, a very excellent good-conceited thing; after, a wonderful sweet air, with 
 admirable rich words to it, — and then let her consider. 
 
 * " This " means the pathetic meeting between the speaker's blind father and the 
 distracted king. 'We explain this, because the passage has been strangely misunder- 
 stood ; one commentator complaining that there is ' some obscurity here.' 
 
SIMILES. 699 
 
 Sons. 
 Hark, hark! the lark at heaven's gate sings, 
 
 And Phoebus 'gins arise. 
 His steeds to water at those springs 
 
 On chalic'd flowers that lies ; 
 And winking Mary-buds begin 
 
 To ope their golden eyes ; 
 With every thing that pretty is. 
 My lady sweet, arise ; 
 
 Arise, arise ! — Cym., ii. 3. 
 
 Kneel not to me : 
 The power that I have on you is to spare you ; 
 The malice towards you to forgive you : live. 
 And deal with others better. — 
 
 Nobly doom'd ! — Ibid., v. 5. 
 
 SIMILES. 
 
 Shakespeare is always apt and forcible in his similes. He uses one, 
 which that fine old genuine poet Chaucer also used, more apparent in 
 its truth at the time these authors wrote than now ; inasmuch as glass 
 formerly was sufficiently blue in colour to imply the azure tint in the 
 grey, while the crystal clearness is presented to the imagination : — 
 
 Her eyes are grey as glass. — Two G. of V., iv. 4. 
 
 The following, among innumerable others that might be cited, ser\'e 
 to evince the ■strength and pertinence of Shakespeare's similes :— 
 
 But were they false as o'er-dy'd blacks. — W. T., i. 2. 
 
 I have removed Falstaft's horse, and he frets like a gummed velvet. — i H. IV., ii. 2. 
 
 There 's no more valour in that Poins than in a wild-duck. — Ibid., ii. 2. 
 
 There's no more faith in thee than in a stewed prune ; nor no more truth in thee than 
 in a drawn fox. — Ibid., iii. 3. 
 
 And how poetically and condensedly expressed is the following : — 
 
 His faults, in him, seem as the spots of heaven, more fiery by night's blackness. — 
 Ant. &• C, i. 4. 
 
 Some of his similes are very elliptically expressed : — 
 This third, dull lead, with warning all as blunt [as the lead is dull]. — iIer.ofV.,u.j. 
 We are no tyrant, but a Christian king; 
 Unto whose [Christ's] grace our passion is as subject 
 
 As are our wretches fetter'd in our prisons [subject to our grace]. — H. V.,i.2. 
 To seel her father's eyes up close as [the grain of] oak. — 0th., iii. 3. 
 
 There is characteristic confusion of expression in Fluellen's simile : — 
 
 If he be perjured, see you now, his reputation is as arrant a villain and a Jack-sauce, 
 as ever his plack shoe trod upon Got's ground and his earth. — H. V., iv. 7. 
 
 But in a few other of Shakespeare's similes also, we find somewhat 
 peculiarly constructed and condensed phraseology [See Ellipses of 
 Comparison] : — 
 
 Sleep kill those pretty eyes. 
 And give as soft attachment to thy senses 
 As infants' empty of all thought ! — Tr. &• Cr., iv. 2. 
 
700 THE SHAKESPEARE KEY. 
 
 They call him Troilus ; and on him erect 
 
 A second hope, as fairly built as Hector. — Tr. &• Cr., iv. 5. 
 
 And call thee back 
 With twenty hundred thousand times more joy 
 Than thou went'st forth in lamentation. — R. &• jfuL, iii, 3. 
 
 Oh, sweetest, fairest lily ! 
 My brother wears thee not the one half so well 
 As when thou grew'st thyself. — Cym., iv. 2. 
 
 One sand another 
 Not more resembles that sweet rosy lad 
 Who died, and was Fidele. — Ibii!., v. 5. 
 
 Shakespeare has some humorous similes or comparisons. In the 
 first of the following passages, the humour is delightful of making 
 Falstaff draw a possible likeness between his huge self in the first place 
 to so small an object as a peppercorn, and in the second place to an 
 animal that drags liquor about outside of him, while the speaker drags 
 it about inside of him : — 
 
 An I have not forgotten what the inside of a church is made of, I am a peppercorn, 
 a brewer's horse. — i H. IV., iii. 3. 
 
 You two never meet, but you fall to some discord ; you are both, in good troth, as 
 rheumatic as two dry toasts. — 2 H. IV., ii. 4. 
 
 His wit is as thick as Tewksbury mustard ; there is no more conceit in him than is 
 in a mallet. — Ibid., ii. 4. 
 
 In the two following passages, Shakespeare uses an old proverbially 
 employed comparison. A " door-nail " was the nail or lump of iron on 
 which ancient door-knockers struck ; and, being subject to innumerable 
 blows, it became a type of ultra deadness : — 
 
 What, is the old king dead ? — 
 As nail in door. — Ibid., v. 3. 
 If I do not leave you all as dead as a door-nail. — 2 H. VI., iv. 10. 
 
 In the following passage, he uses ironical similes : — 
 
 Why, it hath bay-windows transparent as barricadoSs, and the clear stories toward 
 the south-north are as lustrous as ebony. — Tin. .V., iv. 2. 
 
 In the following passages he uses the kind of meaningless com- 
 parisons, that have often been popularly favourite in familiar colloquial 
 English : — 
 
 What, are they broken ? — ■ 
 No, they are both as whole as a fish. — Two G. of V., ii. 5. 
 Peas and beans are as dank here as a dog. — i H. IV., ii. i. 
 I am stung like a tench. — Ibid., ii. i. 
 
 The following passage contains a simile and poetical image perfectly 
 worthy of Shakespeare himself ; and though it occurs in a play of 
 which we believe only certain portions were written by him, yet its 
 diction is so completely his, that it appears to us to be unmistakably 
 from his pen. It is noteworthy, however, that the five italicised lines 
 (the three first of which form this simile) have a remarkable air of 
 irrelevancy, as if introduced into the speech by some other hand than 
 the one that wrote the speech itself and the main part of the scene : — 
 
 Assign'd am I to be the English scourge. 
 This night the siege assuredly I '11 raise ; 
 Expect Saint Martin's summer, halcyon days, 
 
SOLILOQUIES. 701 
 
 Since I have entered into these wars. 
 
 Glory is like a circle in the water, 
 
 Which never ceaseth to enlarge itself, 
 
 Till, by broad spreading, it disperse to naught. 
 
 With Henry's death the English circle ends ; 
 
 Dispersed are the glories it included. 
 
 Now am I like that proud insulting ship 
 
 Which Caesar and his fortune bare at once. — i H. VI., i. 2. 
 
 SOLILOQUIES. 
 
 In several of his soliloquies, Shakespeare gives precisely that per- 
 plexity of expression, that half-obscure diction, vs^hich tallies with the 
 incomplete form that thought takes when a man communes with him- 
 self. A crowd of ideas cross the mind, a confusion of images present 
 themselves to the fancy, and become compounded into a train of 
 musing ; and this is what soliloquy represents. It is thinking aloud. 
 And as the process of thinking takes but partially defined shape, so the 
 great dramatist delineates it, in many cases, with this natural inde- 
 finiteness. For instance, where the duke in " Measure for Measure " 
 is left alone by the calumnious ribald, Lucio, he falls into reflection upon 
 the impossibility there is for rulers to escape from slander ; and when 
 left alone by Escalus, he resumes his reverie, branching into considera- 
 tion of the need there is that rulers should set good example ; this 
 branch of thought expressing itself in elliptically succinct sentences, 
 like the mere traces of ideas. Even the brief eight-foot line here adopted 
 by the poet, aids in giving this effect :^ 
 
 He, who the sword of heaven will bear. 
 
 Should be as holy as severe ; 
 
 Pattern in himself to know, 
 
 Grace to stand, and virtue go ; 
 
 More nor less to others paying. 
 
 Than by self-ofPences weighing. 
 
 Shame to him whose cruel striking 
 
 Kills for faults of his own liking! 
 
 Twice treble shame on Angelo, 
 
 To weed my vice, and let his grow ! 
 
 0, what may man within him hide. 
 
 Though angel on the outward side ! 
 
 How may likeness, made in crimes, 
 
 Making practice on the times, 
 
 To draw with idle spiders' strings 
 
 Most pond'rous and substantial things ! — M.for M., iii. 2. 
 
 Observe how elliptically the third and fourth lines are allowed to 
 imply, ' should be himself a pattern whereby to know how .grace ought 
 to bear itself, and how virtue ought to proceed ; ' and how in the 
 thirteenth line, ' be ' has to be elliptically understood before " made " in 
 order , to furnish the consecution between the latter word and "to 
 draw." Again, the duke resumes this same reverie (even in the next 
 act and scene), when Mariana and Isabella leave him ; and while 
 they confer together, he falls into reflection upon the theme that chiefly 
 engages his thoughts : — 
 
702 THE SHAKESPEARE KEY. 
 
 O, place and greatness, millions of false eyes 
 
 Are stuck upon thee I volumes of report 
 
 Run with these false and most contrarious quests 
 
 Upon thy doings ! thousand escapes of wit 
 
 Make thee the father of their idle dream, 
 
 And rack thee in their fancies. — M.for M., iv. i. 
 
 See how condensedly " contrarious" is made to express the double 
 meaning of ' contrary to fact ' and ' contradictory to each other ; ' while 
 " rack thee in their fancies " is allowed to imply ' stretch thy doings 
 into enormity in their surmise,' ' torture thy conduct into the semblance 
 of evil in their idea,' and 'mangle thy reputation by their false repre- 
 sentations.' 
 
 Even so it was with me when I was young ; 
 
 If ever we are nature's, these are ours ; this thorn 
 
 Doth to our rose of youth rightly belong; 
 
 Our blood to us, this to our blood is born ; 
 
 It is the show and seal of nature's truth. 
 
 Where love's strong passion is impress'd in youth : 
 
 By our remembrances of days foregone. 
 
 Such were our faults ; — or then we thought them none. — All's W., 1.3. 
 
 Very marked is the close assemblage of ideas and elliptical con- 
 struction in this soliloquy. It exactly represents the effect of broken or 
 interrupted thought, checked by other crossing or interposing thoughts ; 
 and of the passing of these through the mind, presented to the speaker's 
 imagination rather than uttered aloud. The old countess first reflects, 
 ' Even thus it was with me when I was young like Helena ; ' then she 
 ■proceeds to the more general consideration, ' If ever we have been 
 thoroughly natural, or true to nature, such as these are our impulses ; 
 this thorn and spur to love is an innate part of the rose and loveli- 
 ness of youth ; as our blood is native to us, so is this impulse of 
 affection native to our blood (" blood " signifying ' inherent quality or 
 disposition'); it is the evidence and token of nature's truth where love's 
 strong passion is felt in youth ; and by our own remembrances of our 
 past days, we know that such were our own impulsive faults — or, 
 rather, we then thought them no faults, but natural feelings.' 
 
 I will, my lord : God give your grace good rest ! [Clarence sleeps. 
 
 Sorrow breaks seasons and reposing hours. 
 
 Makes the night morning, and the noon-tide night. 
 
 Princes have but their titles for their glories, _ 
 
 An outward honour for an inward toil ; 
 
 And, for unfelt imaginations. 
 
 They often feel a world of restless cares : 
 
 So that, between their titles and low name, 
 
 There 's nothing differs but the outward fame. — R. III., i. 4. 
 
 The two lines previous to the concluding couplet we interpret thus : — 
 ' And, instead of pleasures of imagination which they never experience, 
 they often experience a multitude of restless cares.' This is a reflection 
 naturally growing out of Clarence's description of his late dreams ; 
 which, instead of being filled with images of beauty and peace, are 
 crowded with troublous and terrible visions. The passage is rendered 
 somewhat obscure in effect from the employment of the word " for " ; 
 which is twice used in its ordinary sense, and the third time is used 
 in the sense of ' instead of.' But there is also intentional obscurity 
 
SOLILOQUIES. 703 
 
 of effect ; as representing the dimly expressed thoughts that pass 
 through the brain of a soliloquiser. 
 
 Farewell, a. long farewell, to all my greatness ! 
 This is the state of man : to-day he puts forth 
 The tender leaves of hope ; to-morrow blossoms, 
 And bears his blushing honours thick upon him ; 
 The third day comes a frost, a killing frost. 
 And, — when he thinks, good easy man, full surely 
 His greatness is a-ripening, — nips his root. 
 And then he falls as I do. I have ventur'd, 
 Like little wanton boys that swim on bladders. 
 This many summers in a sea of glory ; 
 But far beyond my depth : my high-blown pride 
 At length broke under me ; and" now has left me, 
 Weary and old with service, to the mercy 
 Of a rude stream, that must for ever hide me. 
 Vain pomp and glory of this world, I hate ye : 
 I feel my heart new open'd. O, how wretched 
 Is that poor man that hangs on princes' favours ! 
 There is betwixt that smile we would aspire to, 
 That sweet aspect of princes, and their ruin. 
 More pangs and fears than wars or women have : 
 And when he falls, he falls like Lucifer, 
 Never to hope again. — H. VIII., iii. 2. 
 
 Throughout this soliloquy the pronouns are made to vary most 
 remarkably, changing in accordance with the fluctuations of thought 
 that pour through the speaker's mind. First, there is, " 7ny greatness ; " 
 then come, '^ he puts forth," "Aw blushing honours thick upon hbn," 
 " when he thinks," " /lis greatness," " his root," and " Ae falls," closing 
 with " as I do." This is succeeded by the more directly personal "/ 
 have ventur'd," " wjy depth," "my high-blown pride," "broke under 
 fne," "left me," "hide me," "/hate ye," and "/ feel my." Then, 
 again, comes the more general reflection, " that poor man, &c.," 
 followed by a kind of parenthetical observation respecting " that smile 
 ine would aspire to," and " that sweet aspect of princes, and theii' 
 ruin ; " and when the speaker has ended it, he returns suddenly to the 
 close of the reflection upon him who " when he falls, he falls, &c." 
 The expression " their ruin " elliptically implies ' the ruin caused by 
 their wrath.' 
 
 This she ? no, this is Diomed's Cressida : 
 If beauty have a soul, this is not she ; 
 If souls guide vows, if vows be sanctimonies, 
 If sanctimony be the gods' delight. 
 If there be rule in unity itself, 
 This is not she. O, madness of discourse. 
 That cause sets up with and against itself ! 
 Bi-fold authority ! where reason can revolt 
 Without perdition, and loss assume all reason 
 Without revolt : this is, and is not, Cressid ! 
 Within my soul there doth conduce a fight 
 Of this strange nature, that a thing inseparate 
 Divides more wider than the sky and earth, 
 And yet the spacious breadth of this division 
 Admits no orifice for a point, as subtle 
 As Arachne's broken woof, to enter. 
 
704 THE SHAKESPEARE KEY. 
 
 This passionate speech is not addressed to Ulysses, although he is 
 with its speaker, Troilus. It is an outburst of distracted thought, an 
 attempt to persuade himself that the false woman he has just seen is 
 not his Cressida, even while conscious that she is no other than her 
 own heartless self. It is a series of abrupt agitated sentences, yet with 
 a link of consecution running through them all ; it disputes identity, 
 and tries to disprove the individuality his own eyes have witnessed. 
 The expression, " if there be rule in unity itself," means, ' if there be 
 truth in identity ; ' that one person cannot be more or other than one. 
 "Discourse" is here used for 'ratiocination;' "conduce" has its 
 classical sense of ' lead together, ' ' assemble ; ' and " a fight " signifies 
 the elements of a fight, the contending forces, the conflicting feelings, 
 the battling emotions that surge and meet tumultuously within the 
 speaker's soul, brought together by the strength of passion. Lastl}', 
 we take " a thing inseparate," &c., to mean, 'a thing so inseparable as 
 personal individuality ' — Cressida's identity with herself — ' becomes in 
 my mind more widely divided than are the sky and the earth, and yet I 
 am perfectly aware that in all this space which my imagination would 
 fain establish, there exists no opening for admission of proof even so 
 minute as a spider's web.' 
 
 How if, when I am laid into the tomb, 
 
 I wake before the time that Romeo 
 
 Come to redeem me ? There 's a fearful point ! 
 
 Shall I not, then, be stifled in the vault, 
 
 To whose foul mouth no healthsome air breathes in. 
 
 And there die strangled ere my Romeo comes ? 
 
 Or, if I live is it not very like. 
 
 The horrible conceit of death and night, 
 
 Together with the terror of the place, — 
 
 As in a vault, an ancient receptacle, 
 
 Where, for these many hundred years, the bones 
 
 Of all my buried ancestors are pack'd ; 
 
 Where bloody Tybalt, yet but green in earth. 
 
 Lies festering in his shroud ; where, as they say. 
 
 At some hours in the night spirits resort ; — 
 
 Alack, alack, is it not like that I, 
 
 So early waking, — what with loathsome smells. 
 
 And shrieks like mandrakes' torn out of the earth. 
 
 That living mortals, hearing them, run mad ; — 
 
 O, if I wake, shall I not be distraught. 
 
 Environed with all these hideous fears ? 
 
 And madly play with my forefathers' joints ? 
 
 And pluck the mangled Tybalt from his shroud ? 
 
 And, in this rage, with some great kinsman's bone. 
 
 As with a club, dash out my desperate brains. — R. &• jfuL, iv. 3. 
 
 The construction is inconsecutive in this soliloquy ; admirably 
 serving to mark the wild agitation of the speaker. Juliet commences 
 with, " If I live is it not very like," &c. ; then goes on to appal herself 
 with images of horror till she resumes with, " Alack, alack, is it not 
 like that I, so early waking," &c., and again loses herself in terrors 
 until she breaks off unfinishedly and a third time resumes disjointedly 
 with, " O, if I wake, shall I not," &c. 
 
 Good king, that must approve the common saw, — 
 
 Thou out of heaven's benediction com'st 
 
SOLILOQUIES. 705 
 
 To the warm sun ! 
 
 Approach, thou beacon to this under globe, 
 That by thy comfortable beams I may . 
 Peruse this. letter! Nothing", almost, sees miracles 
 But misery : I know 'tis from Cordelia, 
 Who hath most fortunately been inform'd 
 Of my obscured course ; and shall find time 
 From this enormous state, — seeking to give 
 Losses their remedies, — All weary and o'er-watch'd. 
 Take vantage, heavy eyes, not to behold 
 This shameful lodging. 
 
 Fortune, good night : smile once more ; turn thy wheef ! [Sleeps. 
 
 Lear, iT. 2. 
 
 Besides the usual natural inexplicitness of wording which Shake- 
 speare gives to some of his soliloquies, he here still farther marks 
 disconnection of ideas and disjunction of sentences. Kent, put into 
 the stocks by Lear's granite-natured daughter Regan, resolves to sleep 
 out the time of his ignoble punishment ; and, left by himself, while 
 dropping off into slumber, he muses upon passing events. He first 
 illustrates his fear that the old king will be likety to receive even worse 
 treatment from Regart than that which he has experienced from 
 Goneril by allusion to the old adage, " He goes out of God's blessing 
 to the warm sun," viz., from good to worse ; then he bids the sun arise, 
 that by its beams he may see to read a letter that he has received from 
 Cordelia ; then comes a passing reflection upon there being no condition 
 like a lowly one for seeing miracles — suggested by his own disguise as 
 a serving-man, which may perchance enable him to behold the miracle 
 of redress for the present unnatural state of affairs ; then he returns 
 to consideration of the letter from Cordelia, who has had intelligence 
 of his disguised procedure, and who,* he trusts, shall find time and 
 opportunity from this irregular state of things (to convert it into duer 
 order) — endeavouring to give lost positions their due remedies (by 
 reinstating her father in his kingdom, and restoring the speaker to 
 his earldom) ; lastly, finding himself unable to pursue his train of 
 ideas or to express them coherently, he interrupts himself with, 
 " All weary and o'erwatch'd," &c., and resolves to rest. 
 
 O Posthumus ! alas. 
 Where is thy head ? where's that ? Ah me, where's that ? 
 Pisanio might have kill'd thee at the heart. 
 And left this head on. — Cytn., v. 2. 
 
 The finely dramatic soliloquy, of which this is a portion, admirably 
 serves to depict the condition of mind in which its speaker, Imogen, 
 awakes from the trance produced by the drug she has swallowed ; and, 
 in the passage here cited, the expression " this head " — which has been 
 objected to and even altered by some of the commentators — appears to 
 us to be advisedly used by Shakespeare for the purpose of marking the 
 perturbation of the soliloquiser. 
 
 I heard no letter from my master since 
 
 I wrote him Imogen was slain : 'tis strange : 
 
 * The " who " before " hath most fortunately," is elliptically understood as repeated 
 before " shall find time." 
 
 2 Z 
 
7o6 THE SHAKESPEARE KEY. 
 
 Nor hear I from my mistress, who did promise 
 
 To yield me often tidings ; neither know I 
 
 What is betid to Cloten ; but remain 
 
 Perplex'd in all : the heavens still must work. 
 
 Wherein I am false I am honest ; not true, to be true ; 
 
 These present wars shall find I love my country, 
 
 Even to the note o' the king, or I '11 fall in them. — Cym., iv. 3. 
 
 The phrase, " I heard no letter from my master," has been pro- 
 nounced inaccurate, and proposals have been made to change " I 
 heard'" to 'I've had,' or 'I had.' But "I heard" not only accords 
 with, " Nor hear I from my mistress," it seems like a familiarism of 
 soliloquy or thinking aloud ; since there is a familiar idiom, ' I heard 
 no word from him,' when it is meant that no letter has been received. 
 The whole phraseology of this soliloquy is in the same tone of concise 
 expression : " not true, to be true," signifying, ' I am apparently not 
 true to my employers, in order that I may be true to my own master 
 and mistress ' ; and " even to the note 0' the king," meaning, ' even 
 until the proof I give of it shall attract the king's notice.' 
 
 Why should this change of thoughts. 
 The sad companion, dull-ey'd melancholy, 
 Be ray so us'd a guest as not an hour, 
 In the day's glorious walk, or peaceful night 
 (The tomb where grief should sleep), can breed me quiet? 
 Here pleasures court mine eyes, and mine eyes shun them. 
 And danger, which I fear'd, is at Antioch, 
 Whose arm seems far too short to hit me here : 
 Yet neither pleasure's art can joy my spirits. 
 Nor yet the other's distance comfort me. 
 Then it is thus : the passions of the mind, 
 That have their first conception by mis-dread, 
 Have after-nourishment and life by care ; 
 And what was first but fear what might be done. 
 Grows eldet now, and cares it be not done. — Per., i. 2. 
 
 The musing fit is here denoted by the style of diction, which is 
 dreamily reflective. To follow the train of idea, it is requisite to bear 
 in mind that " this change of thoughts " implies both 'this conflicting 
 interchange of thoughts, the one with the other in my mind,' and ' this 
 alteration of my thoughts from their previous cheerfuller course ' ; and 
 also to bear in mind that " elder " is here used in the peculiar manner 
 in which Shakespeare sometimes employs this word. In the present 
 passage it includes the senses of ' larger,' 'stronger,' 'more confirmed,' 
 ' more established,' and 'more advanced in time,' ' having attained to 
 a later period.' 
 
 As instances of Shakespeare's power in writing brief but most effec- 
 tive soliloquies, we cite the two following ; each intensely significant 
 in its peculiar kind. The one is where Troilus is awaiting the coming 
 of Cressida, when she is to give herself to his arms in fulness of 
 possession : — 
 
 I am giddy ; expectation whirls me round. 
 The imaginary relish is so sweet 
 That it enchants my sense : what will it be, 
 When that the watery palate tastes indeed 
 
SOLILOQUIES. 707 
 
 Love's thrice-repured* nectar ? death, I fear me ; 
 Swooning destruction ; or some joy too fine, 
 Too subtle-potent, turn'd too sharp in sweetness, 
 For the capacity of my ruder powers : 
 I fear it much ; and I do fear besides. 
 That I shall lose distinction in my joys ; 
 As doth a battle, when they charge on heaps 
 The enemy flying. — Tr, &• Cr., iii. 2. 
 
 The other is where we first see Lady Macbeth alone, after her 
 achievement of royalty — that object of ambition for which she has 
 bartered all self-respect, all peace of mind. It is a wonderful condensa- 
 tion of moral homily into three lines and a half of soliloquy : — 
 
 Naught's had, all 's spent, 
 Where our desire is got without content : 
 'Tis safer to be that which we destroy. 
 Than, by destruction, dwell in doubtful joy. — Macb., iii. 2. 
 
 There are three notable instances given by our supreme dramatist of 
 a person permitting the thoughts to wander off into soliloquy spoken 
 aside, in the presence of others ; when an engrossing subject wholly 
 occupies the mind and will not be contented to lie silently undiscussed, 
 but must needs have the vent of self-communing at once. In each case, 
 the language is singularly veiled — even obscure — as befits the theme 
 reflected upon ; and serves to show Shakespeare's refinement in 
 expression combined with vigour in dealing with the most hallowed as 
 well as the most unhallowed subjects of meditation : — 
 
 But, O, strange men ! 
 That can such sweet use make of what they hate. 
 When saucy trusting of the cozen'd thoughts 
 Defiles the pitchy night ! so lust doth play 
 With what it loathes, for that which is away : 
 But more of this hereafter. — All's W., iv. 4. 
 Affection ! thy intention stabs the centre ; 
 Thou dost make possible things not so held, 
 Comraunicat'st with dreams ! — (how can this be ?) — 
 With what 's unreal thou coactive art. 
 And fellow'st nothing: then 'tis very credent. 
 Thou may'st co-join with something ; and thou dost, — 
 And that beyond commission; and I find it, — 
 And that to the infection of my brains. 
 And hardening of my brows. — W. T., i. 2. 
 This supernatural soliciting 
 Cannot be ill ; cannot be good : — if ill. 
 Why hath it given me earnest of success. 
 Commencing in a truth ? I am thane of Cawdor : 
 If good, why do I yield to that suggestion 
 Whose horrid image doth unfix my hair. 
 And make my seated heart knock at my ribs, 
 
 * The Quarto reading of " repured " seems to us to be greatly preferable to the 
 Folio reading, ' reputed.' " Thrice-repured," signifying ' thrice-purified,' ' trebly pure, 
 ' quintessentially refined,' seems to us far more likely to be Shakespeare's word ; as he 
 constantly maintains the principle that love is the purest of essences, as well as the 
 most purifying and ennobling. By way of illustrating this principle of his, no less than 
 for the sake of determining the right word in the present passage, we have observed 
 how very frequently in his works-the word " pure " and the word " love " are to be found 
 in combination. 
 
 2 Z 2 
 
708 THE SHAKESPEARE KEY. 
 
 Against the use of nature ? Present fears 
 
 Are less than horrible imaginings : 
 
 My thought, whose murder yet is but fantastical, 
 
 Shakes so my single state of man, that function 
 
 Is smother'd in surmise ; and nothing is 
 
 But what is not. — Macb., i. 3. 
 
 There are some peculiar forms used in soliloquy, of which instances 
 are to be found in Shakespeare's plays. One form is as if the speaker 
 were addressing an imaginary auditor : — 
 
 My grandam, having no eyes, look you, wept herself blind at my parting. Nay, I '11 
 show j'OK the manner of it. . . . Now, sir, this staff is my sister ; for, look you, she 
 is as white as a lily, and as small as a wand. . . . Mark the moan she makes. Now, 
 the dog all this while sheds not a tear, nor speaks a word ; but see how I lay the dust 
 with my tears. — Two G. of V., ii. 3. 
 
 I am but a fool, look you ; and yet I have the wit to think, my master is a kind of a 
 knave. ..." Item, she can milk ; " look you, a sweet virtue in a maid with clean 
 hands. — Ibid., iii. i. 
 
 Now, sir, the sounds that tell what hour it is. 
 Are clamorous groans, that strike upon my heart. 
 Which is the bell.— i?. //., v. 5. 
 O,you shall see him laugh, till his face be like a wet cloak ill laid up ! — 2 H. IV., v. i. 
 
 It is this same form of appeal to an imaginar}- auditor that is used in 
 the following passage, not an address to any one of the bystanders ; 
 and it serves to give a heightened effect of impassioned derision to the 
 words which Queen Margaret utters, as she sets a paper crown on the 
 defeated York's head : — 
 
 Ay, marry, sir, now looks he like a king ! — 2 H. VI., i. 4. 
 
 What a pagan rascal is this ! an infidel ! Ha ! you shall see now, in very sincerity 
 of fear and cold heart, will he to the king, and lay open all our proceedings. — 
 I H. IV., ii. 3. 
 Soft! who art thou? Sir Walter Blunt ! there 's honour for you ! — Ibid., v. 3. 
 
 Soft you now ! 
 The fair Ophelia. — Hamlet, iii. i. 
 
 There is another form employed in soliloquy which Shakespeare has 
 used in the magnificent speech of self-communing that he has put into 
 the mouth of Henry V. after having the night inter\'iew in disguise with 
 the three soldiers of his camp, Bates, Court, and Williams. At the 
 opening of the soliloquy " our" is used in reference to those in whose 
 person the king is musingly speaking ; though he immediately follows 
 it by " we " in reference to himself, as speaking in his own person. 
 This is admirably true to nature : it is precisely that inexact mode of 
 expression which thoughts take in the mind, and which soliloquy 
 represents : — 
 
 Upon the king ! let us our lives, otir souls. 
 Our debts, our careful wives. 
 Our children, and our sins, lay on the king ! 
 We must bear all. O, hard condition, 
 Twin-born with greatness, subject to the breath 
 Of every fool, whose sense no more can feel 
 But his own wringing ! — H. V., iv. i. 
 
 Still another form is used in the soliloquy spoken by York, at the 
 close of the opening scene in the " Second Part of King Henry VI.," 
 
SOLILOQUIES. ■ 709 
 
 where he employs the word " thine" to express that which belongs to 
 the community generally, and to himself in particular; since he goes on 
 to say that the realms of England, France, and Ireland seem to be a 
 portion of his own flesh and blood, and that he had hope of possessing 
 France as he hoped to possess England : — 
 
 Anjou and Maine are given to the French ; 
 
 Paris is lost ; the state of Normandy 
 
 Stands on a ticlde point, now they are gone : 
 
 Suffolk concluded on the articles : 
 
 The peers agreed ; and Henry was well pleas'd 
 
 To change two dukedoms for a duke's fair daughter. 
 
 I cannot blame them all : what is 't to them ? 
 
 'Tis thine they give away, and not their own. — 2 H. VI., i. i. 
 
 And yet another form is used in the same play : — 
 
 This devil here shall be my substitute ; 
 
 For that John Mortimer, which now is dead, 
 
 In face, in gait, in speech, he doth resemble : 
 
 By this I shall perceive the commons' mind, 
 
 How they affect the house and claim of York. 
 
 Say, he be taken, rack'd, and tortur'd, 
 
 I know no pain they can inflict upon him, 
 
 Will make him say I mov'd him to those arms. 
 
 Say, that he thrive (as 'tis great like he will). 
 
 Why, then from Ireland come I with my strength. 
 
 And reap the harvest which that rascal sow'd. — Ibid., iii. i. 
 
 Occasionally Shakespeare with excellent dramatic effect makes a 
 soliloquy commence abruptly, with a reference to something or some 
 one unspecified, except bya pronoun : — 
 
 I have sent after him : he says he '11 come ; 
 
 How shall I feast him ? what bestow of him ? 
 
 For youth is bought more oft than begg'd or borrow'd. — Ta. N., iii. 4. 
 
 Here, not only is the person alluded to spoken of vaguely and left 
 unnamed, but the diction is likewise so hurried and sketchy, that it 
 leaves to be elliptically understood ' if,' ' supposing,' or ' granted that,' 
 before " he says he '11 come." 
 
 Leave me solely : go, 
 
 See how he fares. [£.*!< Attendant.] Fie, fie ! no thought of /«m ; 
 
 The very thought of my revenges that way 
 
 Recoil upon me : in himself too mighty. 
 
 And in his parties, his alliance, — let him be. 
 
 Until a time may serve : for present vengeance, 
 
 Take it on her.—W. T., ii. 3. 
 
 Here, the pronoun " he " refers to Mamillius, who has just been 
 spoken of; but " him," in the same line, refers to Polixenes, who has 
 not been mentioned. The speaker iirst gives the order respecting his 
 little son Mamillius ; and then, the moment the Attendant departs, 
 resumes his bitter musing upon his supposed injurer, Polixenes. 
 
 My birth-place hate I, and my love 's upon 
 
 This enemy town. I '11 enter : if he slay me. 
 
 He does fair justice ; if he give me way, 
 
 I '11 do his country service. — CorioL, iv. 4, 
 
 It must be by his death : and for my part, 
 
 I know no personal cause to spurn at him. 
 
 But for the general. He would be crown'd r 
 
 How that might change his nature, there 's the question. — yul. C, ii. i. 
 
710 THE SHAKESPEARE KEY.. 
 
 SPELLING OF FOREIGN WORDS. 
 
 Shakespeare gave an anglicised spelling of certain foreign words, as 
 a means of indicating to the actors the mode in which these words 
 should be pronounced. Thus, he spells Petriiccio, *' Petruchio ; " 
 showing that the Italian " cc " before "i" is sounded as " ch " is 
 sounded in English : — 
 
 My good friend Petruchio I How do you all at Verona ? — Tarn, of S., i. 2. 
 
 In the following passage the word " Strachy " has much puzzled 
 several of the commentators ; who have proposed various substitutions. 
 But we believe it to be Shakespeare's way of anglicising the spelling of 
 the Italian word Stracci. In Florio's Dictionary, a book proved to be 
 well known to Shakespeare, we find the word printed " Straccij," and 
 there explained to mean 'rags, clouts, tatters, torne or rent rags.' Our 
 dramatist has put " Strachy " into the mouth of Malvolio with a " the " 
 before it, as if it were the name of a noble family of Italy, like the Strozzi, 
 the Orsini, &c. ; thus, while " the lady of the Strachy" seems to be the 
 title of a lady of rank, it really bears the significance of ' the lady of 
 rags-and-tatters,' forming a humorous analogy with "the yeoman of 
 the wardrobe." In corroboration of our belief, we find, under the word 
 Vestiario in Florio's Dictionary, ' one that sels clothes ready made. 
 Also a wardrobe keeper, or a yeoman of a wardrobe.' The Italian form 
 of 'j ' for a final ' i,' as printed in Florio, gives very much the effect of 
 the final 'y,' as printed in the First Folio, and as probably written 
 by Shakespeare in the word ".Strach)- " : — 
 
 The lady of the Strachy married the yeoman of the wardrobe. — Tm. N., ii. 5. 
 
 In the following passage, although modern editions agree to print 
 the word " capriccio" rightly in its Italian form, }-et the First Folio, and 
 probably Shakesp.eare himself in his original manuscript, in order to 
 suggest to the actors the mode of pronunciation, spelt the word thus, 
 — ' caprichio ' : — 
 
 Will this capriccio hold in thee, art sure ? — All's W., ii. 3. 
 
 Similarly, in the Folio (and probably by Shakespeare himself) 
 " Capucius " is spelt ' Capuchius': — 
 
 You should be lord ambassador from the emperor, 
 
 My royal nephew, and your name Capucius. — H. VIII., iv. 2. 
 
 In the following passage, the name of the Clown is spelt "Lavatch," 
 to convey to the actors an idea of the pronunciation of what is 
 evidently intended for a French word. It has been believed by some 
 commentators that this was intended for La Vache, in punning allusion 
 to the name of the actor who played the part, either Richard Cowley or 
 John Lowine (lowing). But we incline to think that it was probably 
 intended for Lavage ; which, in familiar French language, is used to 
 express ' slop,' ' puddle,' ' washiness.' The context seems to warrant 
 our supposition : — 
 
 Good Monsieur Lavatch, give my lord Lafeu this letter; I have ere now, sir, been 
 better known to you, when I have held familiarity with fresher clothes ; but I am now, 
 sir, muddied in fortune's mood, and smell somewhat strong of her strong displeasure. 
 —All's W., V. 2. 
 
STAGE DIRECTIONS AND ENTRANCES. 711 
 
 In the following instance, modern editions give the French name, 
 " Biron," with its proper orthography ; but the First Folio prints it 
 sometimes ' Beroune ' and sometimes ' Berowne,' to show that the accent 
 is laid on the last syllable, and to indicate something of its mode of 
 pronunciation. This latter seems to have been ' Biroon ; ' since, in the 
 passage we cite, the name is made to rhyme with " moon " : — 
 
 My love, her mistress, is a gracious moon ; 
 
 She an attending star, scarce seen a light. — 
 My eyes are, then, no eyes, nor I Birbn : 
 
 Oh, but for my love, day would turn to night! — Love's L. L., iv. 3. 
 
 In the following instance, Shakespeare spells the French name he 
 uses with its due orthography ; although in French, it would be pro- 
 nounced without sounding the final 't.' However, in the passage we 
 cite, he gives us reason to suppose that in his time this letter may have 
 been sounded ; since he makes the name rhyme with " debt " : — 
 
 And consciences, that will not die in debt. 
 
 Pay him the due of honey-tongued Boyet. — Ibid., v. 2. 
 
 STAGE DIRECTIONS AND ENTRANCES. 
 
 It is interesting to observe the meagreness of the stage directions in 
 the earliest printed copies of Shakespeare's plays, probably those which 
 he himself gave in his original manuscript copies, and which formed the 
 only indications of some of those fine dramatic situations known to us as 
 occurring in his dramas. Modern editions of his plays have given 
 fuller and more precisely detailed versions of these old stage directions ; 
 mostly gathered from the text of the dialogue and the requisites of the 
 stage situation implied by the incidents of the story or plot, or from 
 historical sources recording the particulars dramatised. In some cases 
 the old stage directions have been merely amplified or slightly varied in 
 the wording : — 
 
 (Folio.) — Enter Claudia, Prince, and three orfoure with Tapers. — M. Ado, v. 3. 
 
 (Modern.) — Scene III. — The inside of a church. Enter Don Pedro, Claudio, 
 and Attendants, with music and tapers. — Ibid., v. 3. 
 
 (Folio.) — Clow. I haue a reasonable good eare in musicke. tet us haue the tongs 
 and the bones. Musicke Tongs, Rurall Musicke. — Mid. N. D., iv. i. 
 
 (Modern.) — Bottom. I have a reasonable good ear in music : let us have the tongs 
 and the bones. [The stage direction omitted ; since Titania goes on to ask, " Or, say 
 sweet love, what thou desir'st to eat " ■ which gives it to be inferred that it was not the 
 poet-author, but the theatrical manager, who inserted this stage direction, that a treat 
 might be afforded to those among the audience who had asses' ears as well as Bully 
 Bottom. — Ibid., iv. i. 
 
 (Folio.) — Enter the Witch, the two Priests, and Bullingbroke. . . . Enter Elianor 
 aloft [See Scenic Arrangements for a description of the platform or balcony 
 at the back of the stage, in use formerly for those scenes where some of the 
 actors were to occupy a window, a terrace, or other elevated position]. — 
 2 H. VI., i. 4- 
 
 (Modern.) — Scene IV. — London. The Duke of Gloster's garden. Enter Margery 
 JouRDAiN, Hume, Southwell, and Bolingbroke. . . . Enter Duchess above ; 
 andpresently Hume. — Ibid., i. 4. 
 
712 THE SHAKESPEARE KEY. 
 
 (Folio.) — Enter two or three running ouer iJie Stage, from the Murther of Duke 
 Humfrey. - , . King sounds. . . - Noyse within. Enter Warwicke, and many 
 Commons Bed put forth. — 2 H. VI., iii. 2. 
 
 (Modern.) — Scene II. — Bury. A room in the palace. Enter certain Murderers, 
 ■ hastily. . . . The King swoons . . . Noise mithiiu Enter Warwick and 
 Salisbury. The Commons press to the door. . . . Warwick goes into an inner 
 chamber. Salisbury retires to the Commons at the door. . . . The doors of the 
 inner chamber are thrown open, and Gloster is discovered dead in his bed; 
 Warwick and others standing by it. — Ibid., iii. 2. 
 
 (Folio.) — Enter the King, Salisbury, and Warwicke to the Cardinal in bed. — Ibid., iii. 3. 
 (Modern.) — Scene III. — London. Cardinal Beaufort's bedchamber. Enter King 
 
 Henry, Salisbury, Warwick, and others. The Cardinal in bed ; Attendants 
 
 with him. — Ibid., iii. 3. 
 
 (Folio.) — Alarum. Fight at Sea. Ordnance goes off. Enter Lieutenant, Suffolke, and 
 
 others. — Ibid., iv. i. 
 
 [Modern.) — Scene I. — Kent. The sea-shore near Dover. Firing heard at sea. 
 Then enter., from a boat, a Captain, a Master, a Master's Mate, Walter 
 Whitmore and others ; with them Suffolk disguised, and other Gentlemen 
 prisoners. — Ibid., iv. i. 
 
 (Folio.) — Enter Gabriel [supposed to have been meant for the name of the actor 
 
 (possibly, Gabriel Spencer) who played the part]. — 3 H. VI., i. 2. 
 
 (Modern.) — Enter a Messenger. — Ibid., i. 2. 
 
 (Folio.) — Enter one blowing [this quaint description of the panting Messenger's 
 arrival is illustrated by Shakespeare's own words in " The Merry Wives of 
 Windsor," iii. 3 : " Here 's Mistress Page at the door, sweating and blowing, 
 and looking wildly, and would need speak with you presently"]. — Ibid., ii. i. 
 (Modern.) — Enter a Messenger. — Ibid., ii. i. 
 
 (Folio.) — Enter Sinklo, and Humfrey, with Crosse-bowes in their hands [supposed to 
 have been meant for the two actors who played the parts. — These vestiges of 
 Shakespeare's fellow-actors are interesting, and worth tracing]. — Ibid., iii. i. 
 
 (Modern.) — Scene I. — A Chase in the North of England. Enter two Keepers, with 
 cross-bows in their hands. — Ibid., iii. i. 
 
 (Folio.) — Enter Henry the Sixt, and Richard, with the Lieutenant on the Walles. [This 
 shows that the Lieutenant, though within sight and hearing of the royal prisoner, 
 was intended to be aloof m.ounting guard ; and that the outside as well as inside 
 of the apartment were supposed to be apparent to the audience. See Scenic 
 Arrangements.] — Ibid., v. 6. 
 
 (Modern.) — Scene VI. — London. A room in the Tower. King Henry is dis- 
 covered sitting with a book in his hand, the Lieutenant attending. Enter 
 Gloster. — Ibid., v. 6. 
 
 (Folio.) — Exit Lord Chamberlaine, and the King drawes the Curtaine and sits reading 
 pensiuely. [This " curtaine " was " the traverse " ", for an account of which see 
 Scenic Arrangements.] — H. VIII., ii. 2. 
 
 (Modern.) — Exit Lord Chamberlain. Norfolk opens a folding-door. The King 
 is discovered sitting, and reading pensively. — Ibid., ii. 2. 
 
 (Folio.) — Thunder. Enter the three Witches. . . . Enter Hccat, and the other three 
 
 Witches. — Macb., iv. i. 
 
 (Modern.) — Scene I. — A dark cave. In the middle, a cauldron boiling. Thunder. 
 Enter the three Witches. . . . Enter Hecate. [The sentence, " the other three 
 witches," is omitted ; because it appears improbable that Shakespeare intended 
 more than the three weird sisters already known to Macbeth to be upon the 
 stage during his present interview with them, and because it was sometimes in 
 old plays the custom to make a stage direction that announced the entrance of a 
 fresh person on the scene likewise recapitulate those already present.] — Ibid., iv. i. 
 
 In other cases, stage directions have been given in modern editions 
 of Shakespeare's plays, although in the early printed copies no stage 
 
STAGE DIRECTIONS AND ENTRANCES. 713 
 
 directions at all were given with these passages ; the needful particulars 
 being either deduced from the dialogue text, from the situation, or from 
 known historical details : — 
 
 Thurio. Farewell. [Exeunt Thurio and Musicians. 
 
 Enter Silvia above, at her window. 
 
 Proteus. Madam, good even to your ladyship. — Two G. of V., iv. 2. 
 
 Eglamoiir. . . . Madam, madam ! 
 
 Enter Silvia above, at her window. 
 
 Silvia. Who calls ? — Ibid., iv. 3. 
 
 Griimio. . . . and thereby hangs a tale. 
 
 Curtis. Let 's ha' 't, good Grumio. 
 
 Grumio. Lend thine ear. 
 
 Curtis. Here. 
 
 Grumio {Striking him). There. 
 
 Curtis. This is to feel a tale, not to hear a tale. — Tarn, of S., iv. i. 
 
 Scene IV. — Grounds adjoining Olivia's house. — Tw. N., iii. 4. 
 
 There is no stage direction in the Folio to indicate the place where 
 this scene passes ; and in most modern editions it is seated to be 
 " Olivia's garden " ; but the incidents that take place towards the end 
 of the scene — the duel, the entrance of Antonio, the coming of the 
 officers — all show it to be more public ground than the garden inclosure 
 round the Countess's house ; and accordingly, in our editions of the 
 poet, this stage direction stands as here given. 
 
 Shepherd, . . . {Seeing the child) Good luck, an 't be thy will ! what have we here ? 
 Mercy on 's, a barne ; a very pretty barne ! ... I '11 take it up for pity : yet I '11 tarry 
 till my son come. — W. T., iii. 3. 
 
 Some modern editions give "taking up the child" in the above 
 passage ; but the text shows that the Shepherd merely sees the babe 
 lying on the ground at first, and does not " take it up " till afterwards. 
 Scene I. — Northampton. A room in the castle. — John, iv. i. 
 
 " Northampton " has generally been made the locality of this scene ; 
 because there is mention of " Northamptonshire " in the first scene of 
 the play, and because Northampton is known to have been occasionally 
 the royal residence in the time of King John. However, historj' records 
 Valaise to have been the place of Prince Arthur's imprisonment, and 
 Rouen to have been that of his death. 
 
 {Trumpet sounds.] 
 What lusty trumpet thus doth summon us ? — Ibid., v. 2. 
 
 This stage direction — given in all modern editions, because of the 
 words in the text that follow it — we think is also implied in a previous 
 passage of the same scene, where Lewis the Dauphin says : " And 
 even there, methinks an angel spake ; look, where the holy legate 
 comes apace " ; because the sounding of a trumpet often precedes a 
 stage entrance of importance, especially on the battle-field, and because 
 it is poetically and dramatically appropriate that the trumpet-call which 
 heralds the approach of " the holy legate" should suggest the idea of 
 an angel's proclamation. 
 
 Scene IL — London. A room in Prince Henry's house. — i H. IV., i. 2. 
 Most modern editions give the stage direction here, " Another room 
 in the Palace." But, from several passages in the plays where Prince 
 
714 THE SHAKESPEARE KEY. 
 
 Hal figures, we learn that he does not frequent the court ; while, from . 
 tradition, we learn that he had a residence granted to him as Prince of 
 Wales, not far from Eastcheap, one of his favourite haunts. 
 
 Warkworth. Be/ore Northumberland's castle. Enter Rumour, painted 
 full of tongues. 
 Upon my tongues continual slanders ride. . . . 
 
 . . . from Rumour's tongues 
 They bring smooth comforts false, worse than true wrongs. — 2 H. IV. (Indue.) 
 
 The stage direction, "painted full of tongues," is printed in the 
 Quarto copy, though not in the Folio copy of this play ; and the text 
 shows it to be needed. 
 
 King Henry. I pray you, take me up, and bear me hence 
 
 Into some other chamber: softly, pray. [They convey the 'K.i'xa into an inner part 
 of the room., and place him on a bed. — Ibid.-, iv. 4. 
 
 Epilogue [Spoken by a Dancer). ... If my tongue cannot entreat you to acquit 
 me, will you command me to use my legs ? and yet that were but light payment to dance 
 out of your debt. . . . My tongue is weary ; when my legs are too, I will bid you 
 good night.— ^/iirf. (Epilogue). 
 
 This monument of the victory will I bear. [Pttts on part of Sis. Humphrey Stafford's 
 armour] — 2 H. VI., iv. 3. 
 
 The above stage direction is derived from a passage in Hohnshed, 
 that records the circumstance. 
 
 Enter Iden, mith Servants behind. 
 Cade. . . . Yet, come thou and thy five men, and if I do not leave you all as dead 
 as a door-nail, I pray God I may never eat grass more. 
 
 Iden. Nay, it shall ne'er be said, while England stands, 
 That Alexander Iden, an esquire of Kent, 
 Took odds to combat a poor famish'd man. — Ibid., iv. 10. 
 
 The Folio makes no mention of the " Servants " in the stage direction 
 which 'states Iden's entrance ; but — not only does the stage direction 
 in the older drama to which Shakespeare's " Second Part of King 
 Henry VI." succeeded, speak of " Master Alexander Iden and his men," 
 — the words in the text of the above passage (" and thy five men," 
 " you all," and "took odds ") warrant the inclusion of the Servants. 
 
 [Gloster and Clarence whisper. 
 Come, Clarence, come ; thou wilt, if Warwick call. 
 
 Clarence. Father of Warwick, know you what this means ? 
 
 [Taking the red rose out of his hat. 
 Look here, I throw my infamy at thee. — 3 H. VI., v. i. 
 
 The two Stage directions in the above passage are supplied from the 
 older drama on the same subject which preceded Shakespeare's " Third 
 Part of King Henry VI. ; " Clarence's words requiring the accom- 
 panying explained action. 
 
 Scene V. — Antium. A public place. — Coriol.,v.^. 
 
 The Folio giving no stage direction announcing the locality of this 
 scene, some modern editors have placed it in " Antium," others in 
 "Corioli;" but many reasons (expressed at length in our Annotated 
 Edition of Shakespeare's plays) cause us to believe that our dramatist 
 intended it should be " Antium." 
 
 No, no ; this shall forbid it : lie thou there. [Laying down her dagger.]— 
 R. &■ Jul., iv. 3. 
 
STAGE DIRECTIONS AND ENTRANCES. 1i5 
 
 This stage direction is authorised by the reading of the 1597 Quarto 
 of this play which gives Juliet's line in the text thus : — " This shall 
 forbid it. Knife, lye thou there " ; and, in a previous scene, Juliet has 
 said to the friar, " With this knife I '11 help it presently." 
 
 Scene I. — Rome. A room in Antony's house. . . . 
 But, Lepidus, go you to Caasar's house ; 
 Fetch the will hither, and we shall determine 
 How to cut off some charge in legacies. 
 
 Lepidus. What ! shall I find you here ? 
 
 Octavius. Or here, or at the Capitol. — jful. C, iv. i. 
 
 Although Shakespeare probably remembered that in North's Plutarch 
 it is stated " all three met together (to wit, Cssar, Antonius, and 
 Lepidus) in an iland enuironed round about with a little river," the text 
 shows that the dramatist intended to place this scene in " Rome." 
 Scene II. — A room in the castle. — 0th., iv. 2. 
 
 It has been asserted that there is some difficulty in ascertaining 
 where this scene takes place ; as, at its commencement, the words 
 " shut the door " imply an apartment in the castle, while, at its 
 close, Roderigo's careless entry seems to bespeak some place outside 
 adjoining the castle. But other passages of the play indicate that a 
 portion of the castle is used as a guard-room ; and Roderigo may well 
 be supposed to seek lago there, not find him, and pursue his search in 
 other adjacent apartments. If it be borne in mind that Roderigo is 
 partially disguised, according to lago's advice in act i., sc. 3. (" defeat 
 thy favour with a usurped beard "), he is not likely to dread being 
 recognised as the man who gave Brabantio intelligence of Othello's 
 having married Desdemona, and therefore need have no hesitation in 
 entering Othello's house at Cyprus. 
 
 Scene II. Alexandria. The monument. Enter Cleopatra, Charmian, and Iras. 
 . . . Enter, below, to the gates of the monument, Proculeius, Gallus, and 
 Soldiers. . . . Proculeius and two of the Guard ascend the monument by a 
 ladder, and come behind Cleopatra. Some of the Guard unbar and open the gates, 
 discovering the lower room of the monument. . . . Brings Cleopatra down into 
 the lower room of the monument, and delivers her to Dolabella. — Ant. &' C, v. 2. 
 
 Most modern editions give the former portion of the above stage 
 directions thus, in accordance with the description of the scene and 
 incident of Cleopatra's capture, as given in North's Plutarch ; whence, 
 in all probability, Shakespeare drew his details : but, in our editions of 
 his plays, we have appended the latter portion of the above stage 
 directions relative to "the lower room of the monument," because 
 North's Plutarch adds "came down into the monument," after describing 
 Proculeius's having gained access to the " high window," and because 
 the circumstances of the whole scene, as depicted by Shakespeare, 
 require that Cleopatra should be withinside her monument until the 
 very end. We believe that, consistently with the scanty scenic 
 arrangements which were all that existed in our dramatist's time, the 
 stage representation of this scene may have been somewhat thus : 
 Cleopatra and her women at first appeared on the platform or balcony 
 (supposed to be the "high window" of an upper room in "the 
 monument; " as in act iv., sc. 13, where the stage directions in the 
 
7i6 THE SHAKESPEARE KEY. 
 
 Folio describe "Cleopatra and her maides aloft," and "they heaue 
 Anthony aloft to Cleopatra ") ; that Proculeius, Gallus, and the guard 
 enter from the side-scene towards the front of the stage: that they 
 parley with Cleopatra, she above, they below : that Proculeius and two 
 of the guard ascend to the platform by means of a ladder ; that he 
 makes her his prisoner, while the guards below removed, some rude 
 token of gates, that left to view the back portion of the stage imme- 
 diately beneath the platform, which portion was supposed to be the 
 lower room of the monument, containing the bed upon which Cleopatra 
 ultimately falls and " dies : " that Dolabella enters from the side scene 
 near the front of the stage, and that to his care Proculeius delivers 
 Cleopatra, after having brought her down from the platform to the por- 
 tion of the stage beneath : that she remains thus at the back of the stage, 
 supposed to be in the lower room of her monument ; while at the 
 front of the stage successively Caesar and his train come and go, the 
 Clown brings in the basket of figs containing the concealed asp, the 
 guards rush in in alarm, and finally Caesar and his train return to find 
 her and her women dead. In such small space, and with such large 
 demands on the imagination, did actors and audience formerly contrive 
 to give and receive theatrical representation : frequently the inside 
 and the outside of a building being supposed visible at one and the 
 same time, within the most restricted compass of stage and stage 
 appointments. 
 
 Imogen. ... I am sick still ; heart-sick : Pisanio, I '11 now taste of thy drug. 
 l_Sti}allo'WS some]. — Cyw., iv. 2. 
 
 The Folio giving no stage direction here, it might be imagined that 
 the words in the text, " I '11 now taste of thy drug," were possibly no 
 more than an indication that Imogen intends to take some of the drug 
 when she returns to the cave and will be alone ; but the probability is 
 that the author meant this to be the juncture at which she swallows 
 some in sight of the audience. 
 
 Pericles. Let none disturb us. [Helicanus and Lords stand aloof.] Why should 
 this change. — Per., i. 2. 
 
 As it is evident that Pericles, after the first four words, utters his 
 speech in soliloquy, we inserted the above stage direction in our editions 
 of Shakespeare's works. 
 
 In old stage directions it was sometimes the habit to give announce- 
 ment of the entrance of a character at too early a point of the scene ; 
 and we find instances of this habit in the First Folio copy of Shake- 
 speare's plays : — 
 (Folio.) — Scena Quiiiia. Enter Falsiaffe, Mistris Page, MistrisFord, Enans, Anne Page, 
 
 Fairies, Page, Ford, Quickly, Slender, Fenton, Caiiis, Pistoll. — Merry W., v. 5. 
 (Modern.) — Scene V. Another part of the park. Enter Falstaff disguised as Heme, 
 
 with a buck's head on. 
 Falstaff. The Windsor bell hath struck twelve. . . . Who comes here ? my doe ? 
 
 Enter Mistress Ford and Mistress Page. 
 Mrs. Ford. Sir John ! art thou there, my deer ? . . . 
 Falstaff. . . . Would never cross me thus. 
 Enter Sir Hugh Evans, as a Satyr; Pistol, as Hobgoblin; Anne Page, as the Fairy 
 Queen, attended by her brother and others as Fairies, with waxen tapers on their heads. 
 Queen. Fairies, black, grey, green, and white, &c., &c. — Ibid., v. 5. 
 
STAGE DIRECTIONS AND ENTRANCES. 717 
 
 (Folio.) —And perturbation foUowes her. 
 
 Enter Claudio and Beatrice, Leonato, Hero. 
 Pedro. — Looke heere she comes. — M.Ado, ii. i. 
 (Modern.) — I cannot endure my Lady Tongue. [Exit. 
 
 Enter Claudio, Beatrice, Hero, and Leonato. 
 D. Pedro. Come, lady, come ; you have lost the heart of Signior Benedick. — 
 Ibid., ii. I. 
 
 (Folio.) — Enter Florizell, Perdita, Shepherd, Clowne, Polixenes, Camilla, Mopsa, 
 
 Dorcas, Servants, Autolicus. 
 
 Flo. These your vnvsuall weeds, to each part of you 
 
 Do 's giue a life. — W. T., iv. 3. 
 
 (Modern.) — Scene IIL — ^Bohemia. A lawn before a shepherd's cottage. Enter 
 
 Florizel and Perdita. 
 
 Flo. These your unusual weeds to each part of you 
 
 Do give a life . . 
 
 . . . See, your guests approach : 
 
 Address yourself to entertain them sprightly. 
 
 And let 's be red with mirth. 
 
 Enter Shepherd, with Polixenes and Camillo, disguised; Clown, Mopsa, Dorcas, 
 
 and other Shepherds and Shepherdesses. . . . 
 
 Enter Autolycus, singing. — Ibid., iv. 3. 
 
 (Folio.) — Actus Quintus. Scena Prima. Enter Leontes, Cleomenes, Dion, Paulina, 
 
 Servants : Florizel, Perdita. — Ibid., v. i. 
 (Modern.) — Act V. Scene L — Sicilia. A room in the palace of Leontes. Enter 
 Leontes, Cleomenes, Dion, Paulina, and others. 
 Cleo. Sir, you have done enough, and have perform'd 
 A saint-like sorrow. . . . 
 Leontes. They are come. 
 
 Re-enter Cleomenes, with Florizel, Perdita, and others. — Ibid., v. i. 
 
 (Folio.) — Enter Henry Prince of Wales, Sir John Falstaffe, and Pointz. — i H. IV. , i. 2. 
 (Modern.) — Enter Prince Henry and Falstaff. 
 Falstaff. Now, Hal, what time of day is it, lad ? . . . 
 
 Prince Henry. I see a good amendment of life in thee, — from praying to purse- 
 taking. 
 
 Enter PoiNS, at a distance. — Ibid., i. 2. 
 
 (Folio.) — Who knocks so hard ? 
 Whence come you ? What 's your will ? 
 Enter Nurse. 
 Nurse. Let me come in, 
 And you shall know my errand ; 
 I come from Lady luliet. 
 Fri. L. Welcome, then.— i?. &■ Jul., iii. 3. 
 
 (Modern.) — Who knocks so hard ? whence come you ? what 's your will ? 
 Nurse (Within). Let me come in, and you shall know my errand ; I come from Lady 
 Juliet. 
 Fri. L. Welcome, then. 
 
 Enter Nurse. — Ibid., iii. 3. 
 (Folio.) — Aper. Much. 
 Sound Tucket. Enter the Maskers of Amazons, with Lutes in their hands, dauncing 
 
 and playing. 
 Timon. What meanes that trumpe ? How now ? 
 
 Enter Seruant. 
 Ser. Please youe my Lord, there are certaine Ladies most desirous of admittance. 
 Tim. Ladies? What are their wils ? 
 
7i8 THE SHAKESPEARE KEY. 
 
 Ser. There comes with them a fore-runner my Lord, which beares that office, to 
 signifie their pleasures. 
 
 Tim. I pray let them be admitted. 
 
 Enter Cupid with the Maske of Ladies. 
 Cup. Haile to thee, worthy Timon. . . . 
 
 Timo. They 'r wecome all, let 'em haue kind admittance. Musicke, make their 
 welcome. 
 
 Luc. You see, my Lord, how ample y' are belou'd. 
 
 Aper. Hoyday, 
 
 What a sweepe of vanitie comes this way. — Timon, i. 2. 
 
 (Modern.) — Apem. Much ! [Tucket sounded. 
 
 Timon. What means that trump ? 
 
 Enter a Servant. 
 
 How now ! 
 Servant. Please you, my lord, there are certain ladies most desirous of admittance. 
 Timon. Ladies ! what are their wills ? 
 
 Servant. There comes with them a fore-runner, my lord, which bears that office to 
 signify their pleasures. 
 
 Timon. I pray, let them be admitted. 
 
 Ejiter Cupid. 
 Cupid. Hail to thee, worthy Timon. . . . 
 
 Timon. They 're welcome all ; let them have kind admittance. Music, make their 
 welcome! [Exit Cupid. 
 
 First Lord. You see, my lord, how ample you 're belov'd. 
 [Music] Re-enter Cupid, with a Mask of Ladies as Amazons, with lutes in their hands, 
 
 dancing and playing. 
 Apem. Hey day! what a sweep of vanity comes this way! — Ihid., i. 2. 
 (Folio.) — Lear . . . Off, off, you Lendings : Come, vnbutton heere. 
 
 Enter Gloucester, with a Torch. 
 Foole. . . . Looke, heere comes a walking fire. . 
 Kent. How fares your Grace ? 
 Lear. What's he ? — Lear, iii. 4. 
 (Modern.) — Lear. . . . Off, off, you lendings ! come, unbutton here. 
 
 [Tearing off his clothes. 
 Fool. Look, here comes a walking fire. . . . 
 Kent. How fares your grace ? 
 
 Enter Gloster, with a torch. 
 Lear. What 's he ? — Ibid., iii. 4. 
 
 In several of his plays, Shakespeare inserts stage directions indicating 
 
 pageants, processions, visions, apparitions, &c. ; and the Folio gives 
 
 these stage directions, for the most part, with sufficient detail : — 
 
 Solemne and strange musicke : and Prosper on the top * (inuisible) : Enter seuerall 
 
 strange shapes, bringing in a Banket ; and dance about it with gentle actions of 
 
 salutations, and inuiting the King, &'C., to eate, they depart. . . . Thunder and 
 
 Lightning. Enter Ariell (like a Harpey) claps his wings vpon the Table, and with a 
 
 quicnt deuice the Banquet vanishes. . . . He vanishes in Thunder : then (to soft 
 
 musicke) Enter the shapes againe, and daunce (with mockes and mowes) and 
 
 carrying out the Table. — Temp., iii. 3. 
 
 Soft musick. Enter Iris. . . . luno descends. . . . Enter Ceres. . . . luno and 
 
 Ceres whisper and send Iris on employment. . . . Enter certaine Nimphes. . . . 
 
 Enter certaine Reapers [properly habited), they ioyne with the Nimphes, in a 
 
 gracefull dance, towards the end whereof, Prospero starts sodainly and speakes, 
 
 after which to a strange hollow and confused noyse, they hcauily vanish. ... A 
 
 noyse of Hunters heard. Enter diners Spirits in shape of Dogs and Hounds, 
 
 hunting them about : Prospero and Ariel setting them on. — Ibid., iv. i. 
 
 "= " Prosper on the top " signifies that Prospero enters above; on the platform or 
 balcony at the back of the stage, explained under Scenic AifRANGEMENTS. 
 
STAGE DIRECTIONS AND ENTRANCES. 7^9 
 
 Flor.Trmn. Enier the Prologue. Quince. . . Tawyer,* with a Trumpet before them. 
 Enter Pyramus and Thisby, Wall, Moone-shine, and Lyon. — Mid. N. D., v. i. 
 
 Enter Morochus, a tawnie Moore all in white, and three or foure followers accordingly 
 with Portia, Nerrissa and their traine. Flo. Cornets. — Mer. ofV., ii. i. 
 Enter Hymen,f Rosalind, and Celia. Still Musicke. — As You L., v. 4. 
 
 Heere a Daunce of Shepheards and Shepheardesses. . . . Heare a Dance of twelue 
 Satyres. — W. T., iv. 3. 
 
 The Trumpets sound. Enter King Henrie the Fift, Brothers, Lord Chiefe lustice. — 
 
 2 H. IV., V. 5. 
 
 Alarum, and Chambers t goe off. . . . Enter the King, Exeter, Bedford, and Gloucester. 
 Alarum: Scaling Ladders at Harflew. . . . Alarum, and Chambers goe off. — 
 H. v., iii. I. 
 
 Enter Fiends. . . . They walke, and speake not. . . , They hang their heads. . . . 
 They shake their heads. . . . They depart. — i H. VI., v. 3. 
 
 Heere doe the ceremonies belonging, and make the circle, Bullingbrooke or Southwell 
 readcs, Coniuro te, &c. It Thunders and Lightens terribly : then the Spirit 
 riseth. . . . Thutider and Lightning. Exit Spirit. — 2 H. VI., i. 4. 
 
 Enter the Ghost of Prince Edward, Sonne to Henry the Sixt. . . . Enter the Ghost of 
 Henry the Sixt. . . . Enter the Ghost of Clarence. . . . Enter the Ghosts of Riuers, 
 Gray, and Vaughan. . . . Enter the Ghost of Lord Hastings. . . . Enter the 
 Ghosts of the two young Princes. . . . Enter the Ghost of Anne, his wife. . . . 
 Enter the Ghost of Buckingham. — R. III., v. 3. 
 
 Enter Cardinall Wolsey, the Purse borne before him, certaine of the Guard, and two 
 Secretaries ti'ith papers ; The Cardinall in his passage, fixeth his eye on Bucking- 
 ham, and Buckingham on him, both full of disdaine. . . . Exeunt Cardinall, and 
 his Traine. . . . Enter Brandon, a Sergeant at Armes before him, and two'or three 
 of the Guard.— H. VIII., i. 1. 
 
 Cornets. Enter King Henry, leaning on the Cardinal's Shoulder, the Nobles, and Sir 
 Thomas Louell : the Cardinall places himself vnder the Kings feete on his right . 
 side. . . , A noyse within crying roome for the Queen, vsher'd by the Duke of 
 Norfolke. Enter the Queene,Norfolke and Suffolke: She kneels. King riseth from 
 his State, takes her vp, kisses and placeth her by him. — Ibid., i. 2. 
 
 Hoboics. A small Table vnder a State for the Cardinall, a longer Table for the Guests. 
 Then enter Anne Bullen, and diuers other Ladies, and Gentlemen, as guests at one 
 Doore ; at another Doore enter Sir Henry Guilford. . . . Enter L. Chamberlaine, 
 L. Sands, and Louell. . . . Hoboyes. Enter Cardinall Wolsey, and takes his State. 
 , . . Drum and Trumpet, Chambers^ discharged. . . . All rise, and Tables remould. 
 . . . Hoboyes. Enter King and others as Maskers, habited like Shepheards, 
 vsher'd by the Lord Chamberlaine. They passe directly before the Cardinall, and 
 gracefully salute him. . . . Choose Ladies, King, and An Bullen. . . . Musicke, 
 Dance. . . . Whisper. . . . Exeunt with Trumpets. — Ibid., i. 4. 
 
 Enter Buckingham from his Arraignment, Tipstaues before him, the Axe with the edge 
 towards him. Halberds on each side, accompanied with Sir Thomas Louell, Sir 
 Nicholas Vaux, Sir Walter Sands, and common people, Syc. — Ibid., ii. i. 
 
 Trumpets, sennet. \\ and cornets. Enter two Vergers, with short siluer wands ; next them 
 two Scribes, in the habite of Doctors : after them, the Bishop of Canterbury alone ; 
 after him. the Bishops of Lincoln, Ely, Rochester, and S. Asaph : Next them, with 
 some small distance, followes a Gentleman bearing the Purse, with the great Scale, 
 
 * " Ta^vyer " was probably the name of the trumpeter. 
 
 f Although this stage direction does not include them, there must have been 
 intended a train of chorister spirits accompanying Hymen, who says, " Whiles a 
 wedlock hymn we sing." 
 
 X " Chambers " were small pieces of ordnance, used on festive occasions and for 
 stage purposes. 
 
 § It was the discharge of chambers in the present scene of this play that was 
 supposed to have occasioned the fire which burned down the Globe Theatre in 1613. 
 
 II " Sennet " meant a particular blast on the trumpet, differing somewhat from a 
 flourish [See Musical Terms]. 
 
720 THE SHAKESPEARE KEY. 
 
 and a Cardinals Hat : then two Priests, bearing each a Siluer Crosse : then a 
 Gentleman Vsher bare-headed, accompanyed with a Sergeant at Armes, bearing a 
 Siluer Mace : then two Gentlemen bearing two great Sillier Fillers. After them, 
 side by side, the two Cardinals, two Noblemen, with the sword and mace. The 
 King takes place vnder the Cloth of State. The two Cardinalls sit vnder him as 
 Judges. The Qiieene takes place some distance from the King. The Bishops place 
 themselues on each side the Court in manner of a Consistory ; Below them the 
 Scribes. The Lords sit next the Bishops. The rest of the Attendants stand in 
 conuenient order about the Stage. . . . The Queene makes no answer, rises out of 
 her Chaire, goes about the Court, comes to the King, and kneeles at his Feete. Then 
 speakes. . . . She Curtsies to the King, and offers to depart. . . . Exit Queene, 
 and her Attendants. . . Exeunt in manner as they enter' d. — H. VIII., ii. 4. 
 
 Enter King, reading of a Scedule, . . . King takes his Seat, whispers Louell, who goes 
 to the Cardinall. . . . Exit King, frowning upon the Cardinall, the Nobles throng 
 after him smiling, and whispering. . . Enter to Woolsey, the Dukes of Norfolke 
 and Suffolke, the Earle of Surrev, and the Lord Chamberlaine. . . , Exeunt all 
 but Wolsey. . . . Enter Cromwell, standing amazed. — Ibid., iii. 2. 
 
 Enter two Gentlemen, meeting one another. . . . Hoboyes. The Order of the Corona- 
 tion. — I. A liucly Flourish of Trumpets. 2. Then, two ludges. 3. Lord Chan- 
 cellor, with Purse and Mace before him. 4. Qnirristers singing. Musicke. 
 5. Maior of London, bearing the Mace. Then Garter, in his Coate of Armes, and 
 on his head he wore a gilt Cofper Crowne. 6. Marquesse Dorset, bearing a 
 Scepter of Gold, on his head, a Demy Coronall of Gold. With him, the Earle of 
 Surrey, bearing the Rod of Siluer with the Doue, Crowned with an Earles Coronet. 
 Collars of Esses. 7. Duke of Suffolke, in his Robe of Estate, his Coronet on his 
 head, bearing a long white Wand, as High Steward. With him, the Duke of 
 Norfolke, with the Rod of Marshalship, a Coronet on his head. Collars of Esses. 
 8. A Canopy, borne by foure of the Cinque-Ports, vnder it the Queene in her Robe, 
 in her haire, richly adorned with Pearle, Crowned. On each side her, the Bishops 
 of London and Winchester, g. The Olde Dutchesse of Norfolke, in a Coronall of 
 Gold, wrought with Flowers, bearing the Queenes Traine. 10. Certaine Ladies or 
 Countesses, with plaine Circlets of Gold, without Flowers. Exeunt first passing 
 ouer the Stage in Order and State, and then, A great Flourish of Trumpets. — 
 Ibid., iv. I. 
 
 Enter Katherine Dowager, sicke, lead beiweene Griffith, her gentleman Vsher, and 
 Patience her Woman. . . . Sad and solemne Musicke. . . . The Vision. Enter 
 solemnely tripping, &c. [See Dumb Shows for this stage direction, given at length.] 
 
 Enter Trumpets sojinding : Then two Aldermen, L. Maior, Garter, Cranmer, Duke of 
 Norfolke with his Marshals Staffe, Duke of Suffolke, two Noblemen bearing 
 great standing bowles for the Christening Guifts : Then foure Noblemen bearing a 
 Canopy, vnder which the Dutchesse of Norfolke, Godmother, bearing the Childe 
 richly habited in a Mantle, frc. Traine borne by a Lady : Then followes the 
 Marchionesse Dorset, the other Godmother, and Ladies. The Troupe passe once 
 about the Stage, and Garter speakes. — Ibid., v. 4. 
 
 Enter the Ghost of Ccssar. — "^ul. C, iv. 3. 
 
 Enter the Ghost of Banquo, and sits in Macbeths place. . . . Enter Ghost. — Macb.,m.^. 
 
 Thunder. 1. Apparition, an Armed Head. . . . He descends. . . . Thunder, z. Apparition, 
 a Bloody Childe. . . . Descends. . . . Thunder. 3. Apparition, a Childe Crowned, 
 with a tree in his hand. . . . Descend. . . Hoboyes. . . . A Shew of eight Kings, 
 and Banquo last, with a glasse in his hand. — Ibid., iv. i. 
 
 Enter the Jj host. . . . Exit the Ghost. . . . Enter Ghost againe. . . . Exit Ghost. — 
 
 Hamlet, i. i. 
 
 Enter Ghost. . . . Ghost beckons Hamlet. . . . Exeunt Ghost and Hamlet. — Ibid., i. 4. 
 
 Enter Ghost and Hamlet. . . . Exit. . . . Ghost cries vnder the Stage. — Ibid., i. 5. 
 
 Enter Ghost. . . . Exit.— Ibid., iii. 4. 
 
 Enter King, Queene, Laertes, and a Coffin, with Lords attendant. — Ibid., v. i. 
 
 Enter Lucius, lachimo, and the Romaine Army at one doore : and the Britaine Army 
 at another : Leonatus Posthumtis following like a poore Souldier. They march 
 ouer, and goe out. Then enter againe in skirmish lachimo and Posthumus ; he 
 
STAGE DIRECTIONS AND ENTRANCES. 
 
 vanquisheth and disarmeth lachimo, and then leaues him. . . . The Battaile con- 
 tinues, the Britaines fly, Cymbeline is taken : Then enter to his rescue, Bellarius, 
 Guiderius, and Aruiragns. . . . Enter Posihumus, and seconds the Britaines. They 
 rescue Cymbeline, and Exeunt. — Cym., v. 2. 
 
 Enter Cymbeline. &-c. [See Dumb Shows ; where this stage direction is given at 
 length.] — Ibid., v. 3. 
 
 Solemne musicke. Enter (as in an Apparition) Sicillius Leonatus, Father to Posthumus, 
 an old man. attyred like a warriour, leading in his hand an ancient Matron {his 
 wife, and Mother to Posthumus) with Musicke before them. Then, after other 
 Musicke, foUowes the two young Leonati (Brothers to Posthumus) with Wounds 
 as they died in the Warrs. They circle Posthumus round as he lies sleeping, . . . 
 lupiter descends in Thunder and Lightning, sitting vpfon an Eagle : hee throws a 
 Thunder-bolt. The Ghostes fall on their Knees. . . . Ascends. - . . Vanish. — 
 Ibid., V. 4. 
 
 In the First Folio there are a few stage directions which contain 
 mention of certain characters that appear nowhere else in the play ; 
 and it is probable that they were characters afterwards omitted by the 
 author, although suffered by inadvertence to remain in the original 
 version used for theatrical representation : — 
 
 Enter Leonato, Gouernor of Messina, Imogen his wife. Hero his daughter, and Beatrice 
 
 his tuece, with a Messenger. — M.Ado, i. i. 
 Enter Leonato, his brother, his wife. Hero his daughter, and Beatrice his neece, and a 
 
 kinsman. — Ibid., ii. i. 
 
 Leonato's " wife " is omitted in all modern editions, as she takes no 
 part in the play ; while they substitute the particular mention of a 
 "kinsman" b}' "others." This "kinsman" probably meant the 
 " cousin " to whom Leonato refers in act i., sc. 2, where he says to 
 Antonio, " How now, brother! where is my cousin, your son ? hath he 
 provided this music ? " 
 
 Flourish. Enter Lewis the French King, his sister Bona, his Admirall, calVd Bourbon ; 
 Prince Edward, Queene Margaret, and the Earle of Oxford. Lewis sits, and riseth 
 vp againe. — 3 H. VI., iii. 3. 
 
 As the French Admiral does not figure in the dialogue, his name is 
 substituted in modern versions of this stage direction by the word 
 " attended." 
 
 Enter Enobarbus, Lamprius, a Soothsayer, Rannius, Lucillius, Charmian, Iras, 
 Mardian the Eunuch, and Alexas. — Ant. &• C, i. 2. 
 
 Modern editions omit the names of Lamprius, Rannius, and Lucillius, 
 as they are personages not introduced by Shakespeare into the speech 
 or action of the play. But the first of these three names possesses 
 an interest for us, inasmuch as it may indicate an original intention on 
 the part of the dramatist to introduce into this play a character and 
 historical authority thus mentioned in North's Plutarch: — " I have 
 heard my grandfather Lajw/iryas report, that one Philotas, a Physitian, 
 borne in the city of Amphion, told him that he was at that present time 
 in Alexandria, and studied Physicke : and that having acquaintance 
 with one of Antonius cookes, he tooke him with him to Antonius house 
 (being a young man desirous to see things) to shew him the wonderful 
 sumptuous charge and preparation of one only supper." 
 
 There are a few stage situations, in the course of Shakespeare's 
 dramas, which have no accompanying stage direction either in the 
 
 3 -^ 
 
722 THE SHAKESPEARE KEY. 
 
 ancient or modern editions of his works ; yet which require bearing ih 
 mind, duly to comprehend the passages where they occur : — 
 
 Gonsalo. Beseech you, sir, be merry ; you have cause 
 (So have we all) of joy ; for our escape 
 Is much beyond our loss. . . . 
 
 Alonso. Prithee, peace. 
 
 Sebastian. He receives comfort like cold porridge. 
 
 Antonio. The visitor will not give him o'er so. . . . 
 
 Adrian. Though this island seem to be desert, — . . . 
 
 Francisco. Sir, he may live : 
 I saw him beat the surges under him, 
 And ride upon their backs. ... I not doubt 
 He came alive to land. 
 
 Alonso. No, no ; he 's gone. 
 
 Sebastian. Sir, you may thank yourself for this great loss, 
 That would not bless our Europe with your daughter. — Temp., ii. i. 
 
 During the above dialogue, we must imagine the speakers to be 
 arranged in two separate groups : King Alonso surrounded by his 
 faithful adherents, Gonzalo, Adrian, Francisco, and the rest, engaged in 
 endeavouring to comfort him ; while Sebastian and Antonio remain 
 apart together, commenting sneeringly upon the others. 
 
 Countess. . . . No more of this, Helena, — go to, no more ; lest it be rather thought 
 you affect a sorrow than to have. 
 
 Helena. I do affect a sorrow, indeed ; but I have it too. 
 
 Lafeu. Moderate lamentation is the right of the dead ; excessive grief the enemy to 
 the living. 
 
 Helena. If the living be enemy to the grief, the excess makes it soon mortal. 
 
 Bertram. Madam, I desire your holy wishes. 
 
 Lafeu. How understand we that ? 
 
 Countess. Be thou blest, Bertram! — All's W., i. i. 
 
 The Countess, at the commencement of the above passage, leaves 
 Helena, and goes over to Bertram ; so that the following speeches, 
 crossing each other [See Crossing Speeches], show that the mother 
 and son are engaged together, while Lafeu remains near Helena, 
 addressing her. 
 
 Lafeu. Do all they deny her ? — Ibid., ii. 3. 
 
 This denotes that Lafeu is within sight, but not within hearing of 
 what is taking place ; since he supposes that the young lords, each in 
 turn, refuse Helena, and does not discover that it is she who succes- 
 sively declines to take them. 
 
 Leontes. Is he won yet ? — W. T., i. 2. 
 
 These words indicate that Leontes has remained somewhat apart, 
 playing with his little son Mamillius, while Hermione fulfils his wish of 
 pleading with Polixenes for a longer sojourn. 
 
 And hither am I come, 
 A prologue arm'd, — but not in confidence 
 Of author's pen or actor's voice ; but suited 
 In like conditions as our argument. — Tr. 6" Cr. {Prologue). 
 
 This gives us to understand that the person appointed to speak the 
 present prologue was clad in armour, consistently with the " argument " 
 of the play ; instead of being dressed in the customary suit of black 
 worn by the speaker of a prologue in Shakespeare's time. 
 
SUPERNATURAL MUSIC. 723 
 
 Hamlet. . . . Nymph, in thy orisons 
 Be all my sins remember'd. 
 
 Ophelia. Good, my lord, 
 
 How does -your honour for this many a day ? 
 
 Hamlet. I humbly thank you ; well, well, well. 
 
 Ophelia. My lord, I have remembrances of yours 
 That I have longed long to re-deliver ; 
 I pray you, now receive them. 
 
 Hamlet. No, not I ; 
 
 I never gave you aught. . . . 
 Where 's your father ? ... It hath made me mad. — Hamlet, iii. i. 
 
 In the above dialogue there is token that — after the first involuntary- 
 greeting, in which he addresses her in his old tone of gentleness and 
 affection — Hamlet instinctively perceives Ophelia's meeting him to be the 
 suggestion of others, by whom they are both watched ; and he immediately 
 falls into his resolved course of wildness, levity, and mad harshness. 
 
 Kent. Good my lord, take his offer ; go into the house. . . . 
 . . . Importune him once more to go, ray lord. . . . 
 
 Gloster. ... I do beseech your grace, — 
 
 Lear. Oh, cry you mercy, sir. 
 
 Noble philosopher, your company. 
 
 Edgar. Tom 's a-cold. 
 
 Gloster. In, fellow, there, into the hovel : keep thee warm. 
 
 Lear. Come, let 's in all. 
 
 Kent. This way, my lord. 
 
 Lear. With him ; 
 
 I will keep still with my philosopher. 
 
 Kent. Good my lord, soothe him ; let him take the fellow. 
 
 Gloster. Take him you on. 
 
 Kent. Sirrah, come on ; go along with us. 
 
 Lear. Come, good Athenian. — Lear, iii. 4. 
 
 It must be imagined that "the house" — probably some cottage or 
 farmhouse belonging to one of Gloster's tenants — lies on the opposite 
 side of the stage from that on which lies " the hovel." When Gloster 
 says, " I do beseech your grace," he attempts to lead the king in the 
 direction of the shelter he has provided in the farmhouse ; but Lear 
 will not leave his "philosopher," and Gloster bids the Bedlam "fellow" 
 go into the " hovel," that he may be out of the king's sight, who then 
 proposes to follow him thither, by saying, " Let 's in all." Kent 
 endeavours to draw Lear away; but, finding him resolved to "keep 
 still with " his " philosopher," begs Gloster to humour the king and 
 " let him take the fellow " with him. Gloster accedes, and bids Kent 
 himself take the fellow with them in the direction they desire to go : 
 this is done, and they all quit the stage together. 
 
 SUPERNATURAL MUSIC. 
 
 Several times in the course of his dramas Shakespeare introduces 
 supernatural music ; and always with charming effect, aiding the 
 dramatic impression he intends to convey : — 
 
 [Solemn and strange music 
 Alonso. What harmony is this ? My good friends,' hark ! 
 Gonzalo. Marvellous sweet music 1 . . . 
 [Then, to soft music, enter the Shapes again."] — Temp., iii. 3 
 
 3 A 2 
 
724 THE SHAKESPEARE KEY. 
 
 Soft music. A masque. Enter Iris. — Temp., iv. i. 
 
 Prospero. . . . When I have required 
 Some heavenly music (which even now I do) 
 To work mine end upon their senses, that 
 This airy charm is for, I '11 break my staff. 
 Bury it certain fathoms in the earth. 
 And, deeper than did ever plummet sound, 
 I '11 drown my book. [Solemn music.'] — Ibid., v. i. 
 
 Oberon. . . . Titania, music call ; and strike more dead 
 Than common sleep, of all these five the sense. 
 
 Titania. Music, ho ! music such as charmeth sleep ! 
 
 [Still music. . . . 
 
 Oberon. Sound, music ! [Still music."] — Mid. N. D., iv. i. 
 [Still music] Enter Hymen, leading Rosalind in woman's clothes, and Celia. — 
 As You L., V. 4. 
 
 Rosalind, being supposed by the persons on the stage to be brought to 
 their forest assemblage through magic means, is imagined to be escorted 
 by some spirit impersonating Hymen, and attended by enchanted music. 
 
 Glendower. Do so ; 
 And those musicians that shall play to you. 
 Hang in the air a thousand leagues from hence ; 
 And straight they shall be here : sit and attend. . . . 
 
 [Glendower speaks some words in Welsh . and music is heard. 
 
 Hotspur. Now I perceive the devil understands Welsh ; 
 And 'tis no marvel he 's so humorous. 
 By 'r lady, he 's a good musician. — i H. IV., iii. i. 
 
 The sly comment put into Hotspur's mouth lets us into the secret 
 that probably the Welsh chieftain has some such instrument as an 
 .^olian harp placed under the control of one of his people, commis- 
 sioned, at a signal, to set it playing ; although Glendower would fain 
 have it believed to be produced by such agency as that to which he 
 alludes when he says he can " call spirits from the vasty deep." 
 
 [Music as of hautboys underground. 
 
 Fourth Soldier. Peace ! what noise ? 
 
 First Soldier. List, list ! 
 
 Second Soldier. Hark ! 
 
 First Soldier. Music i' the air. 
 
 Third Soldier. Under the earth. 
 
 Fourth Soldier. It signs well, does it not ? 
 
 Third Soldier. No. 
 
 First Soldier. Peace, I say ! 
 
 What should this mean ? 
 
 Second Soldier. 'Tis the god Hercules, whom Antony lov'd, 
 Now leaves him. — Ant. &• C., iv. 3. 
 
 The dramatist derived this incident, of supernatural music heard at 
 night when Antony's fortunes were waning, from North's Plutarch ; 
 and excellently is it turned to account. 
 
 [Solemn music. 
 Belarius. My ingenious instrument ! 
 
 Hark, Polydore, it sounds ! But what occasion 
 Hath Cadwal now to give it motion ? Hark ! 
 Guiderius. Is he at home ? 
 
 Belarius. He went hence even now. 
 
 Guiderius. What does he mean .' since death of my dear'st mother 
 It did not speak before. AH solemn things 
 Should answer solemn accidents. — Cym., iv. 2. 
 
TAKING ONE BIRD FOR ANOTHER. 725 
 
 Although this "solemn music" is naturally accounted for, and the 
 " ingenious instrument " was probably intended to be of similar kind to 
 the one that Glendower has at his command, yet the awe-stricken words 
 with which its sound is noted by those whose ear it thus unexpectedly 
 comes upon, give it all the effect of supernatural music. 
 
 Pericles. I embrace you. 
 
 Give me my robes. I am wild in my beholding. 
 Oh, heavens bless my girl ! But, hark, what music ? 
 Tell Helicanus, my Marina, tell him 
 O'er, point by point, for yet he seems to doubt. 
 How sure you are my daughter. But, what music ? 
 
 Helicanus. My lord, I hear none. 
 
 Pericles. None ? 
 The music of the spheres ! List, my Marina. 
 
 Lysimachus. It is not good to cross him ; give him way. 
 
 Pericles. Rarest sounds ! Do ye not hear ? 
 
 Lysimachus. Music ? My lord, I hear — 
 
 Pericles. Most heavenly music ! 
 It nips me into listening, and thick slumber 
 Hangs upon mine eyes : let me rest [Sleeps']. — Per., v. i. 
 
 It has been suggested by some commentators that the word "music," 
 which we have italicised in Lysimachus's speech, should be transposed 
 from the dialogue and placed as a stage direction ; but we cannot think 
 this was intended by Shakespeare. We think he meant Lysimachus to 
 repeat the word used by Pericles, as a mode of humouring his fancy 
 that he hears " rarest sounds ; " these " rarest sounds " being purely a 
 visionary music,' the spiritual echo of the king's harmonious condition 
 of soul, which is tuned to rapture by the recent recovery of his supposed 
 dead child Marina. To us this seems to be an extremely beautiful idea 
 of the poet — making the divine strains of vouchsafed " heavenly 
 music " merely audible to the entranced senses of Pericles himself. 
 
 TAKING ONE BIRD FOR ANOTHER. 
 
 To take one bird for another was anciently in English proverbial use 
 to signify want of discernment, as to know one bird from another was 
 similarly employed to signify discrimination. In " The Three Lords 
 of London," 1590, we find, " No more skill than take a falcon for a 
 buzzard"; the "buzzard" being the 'bald-kite,' a degenerate hawk. 
 Nares quotes, from Comenii jfanua. Land, ed, 1662, a sentence that 
 serves in illustration, — " ' Between hawk and buzzard,' means, ' between 
 a good thing and a bad of the same kind ' : the hawk being the true 
 sporting bird, the buzzard a heavy lazy fowl of the same species " ; and 
 Singer affirms that " there is an old Italian proverb — ' Super discerner i 
 Tordi da Stornelli,' for ' to know one thing from another.' " 
 
 Shakespeare has several allusions to this figurative form of proverbial 
 expression : — 
 
 We '11 teach him to know turtles firom jays. — Merry W., iii. 3. 
 
 The turtle has long been held as a type of true love ; while ' a jay ' 
 was a term for a wanton woman. 
 
726 THE SHAKESPEARE KEY. 
 
 Ay, for a turtle, as he takes a buzzard. — Tarn, of S., ii. i. 
 I took this Jark for a bunting. — AlVs W., ii. 5. 
 
 The bunting is a bird that has some resemblance to a skylark, but 
 without its fine song, and with so little caution as to be easily snared. 
 I know a hawk from a handsaw. — Hamlet, ii. 2. 
 
 This is in direct reference to an old English proverb, given verbatim 
 in Ray's " Proverbs," page 196, ed. 1768, thus: — " He knows not a hawk 
 from a hand-saw." Both Ray and the Folio edition of Shakespeare 
 give "hand-saw," which is a corruption of ' hernshaw ' ; ' hernshaw ' 
 being provincially used for a ' heron,' though strictly meaning a 
 ' heronry.' We believe that the dramatist purposely put the corrupt 
 form of "hernshaw" into Hamlet's mouth for the very reason that 
 there is additional strongly apparent diversity between " a hawk " and 
 " a hand-saw." Had the prince said ' a hawk from a hernshaw ' there 
 would have been merely the effect of the proverbial knowledge between 
 one bird and another ; but saying, " a hawk from a handsaw," there is 
 not only the proverbial and well-understood phrase of discrimination, 
 there is also the effect of discerning a bird from a carpenter's tool — just 
 the sort of asserted power of distinguishing which a madman would 
 claim ; and therefore well suiting Hamlet's assumption of madness. 
 Shakespeare, as we have frequently shown in the course of the present 
 work, has this largely inclusive force of effect in many of his phrases ; 
 and we believe this to be one of these phrases. 
 
 There is indirect reference to the proverbial expression of judgment 
 shown by being able to distinguish between bird and bird, in the 
 following passage : — 
 
 I chose an eagle, and did avoid a puttock. — Cym., i. 2. 
 
 A puttock is a ' kite,' an inferior species of hawk. 
 
 TECHNICALITIES. 
 
 The poetry and truth lying at the core of even the most prosaic 
 subjects — the mode in which a great poet and dramatist will illustrate 
 a poetical or passionate sentence by an allusion to a practical object — ■ 
 the special knowledge as well as varied information possessed by 
 Shakespeare — are all evidenced by the numerous technicalities used by 
 him. His interest in the particulars of knowledge, as well as in know- 
 ledge itself, led him not only to become acquainted with multiform 
 pursuits, but made him also take pains to become conversant with the 
 proper terms employed in those pursuits. Thus, he uses many 
 technicalities belonging to falconry and hawking : — 
 
 How now, my eyas-musket ! what news with you ? — Merry W., iii. 3. 
 
 This was a term for a ' young sparrow-hawk ' : "eyas " meaning a 
 nestling or unfledged bird, from the French nias or niais (' a nias ' 
 becoming corrupted by malpronunciation into ' an eyas ') ; and 
 " musket" being derived from the old French mouschet or mousquet, a 
 male sparrow-hawk. 
 
TECHNICALITIES. IV 
 
 Nay, do not fly : I think we have watched you now. — Merry W., v. 5. 
 To "watch" a hawk meant to tame it by preventing it from 
 sleeping ; therefore the above phrase is equivalent to ' I think we have 
 broken you of your wild habits.' 
 
 This outward-sainted deputy — 
 Whose settled visage and deliberate word 
 Nips youth i' the head, and follies doth enmew, 
 As falcon doth the fowl. — M.for M., iii. i. 
 
 The term " enmew," strictly signifying to encage or retain in the mew 
 where hawks are kept, is here employed to express inclosing with intent 
 to destroy, as the falcon soars and circles round the fowl it makes its 
 prey. 
 
 My falcon now is sharp, and passing empty ; 
 
 And, till she stoop, she must not befull-gorg'd. 
 
 For then she never looks upon her lure. 
 
 Another way I have to man my haggard. 
 
 To make her come, and know her keeper's call ; 
 
 That is, to watch her, as we watch these kites 
 
 That bate and beat, and will not be obedient. — Tarn, of S., iv. i. 
 
 " Sharp " means ' sharp-set,' ' hungry; ' " stoop," besides its sense 
 of ' yield,' ' bend,' ' submit,' is used in its technical sense of coming 
 down as a trained ' falcon upon its prey ; " full gorg'd " is ' fully fed ' ; 
 " lure " is the stuffed bird made to represent that kind of living one 
 which it is intended that the falcon shall pursue ; to " man " a hawk is 
 to tame it ; and a " haggard " is a wild unreclaimed hawk. 
 
 And with what wing the stannyel checks at it. — T'lV. N., ii. 5. 
 
 A " Stannyel " is a stonehawk ; and " checks " is the technical ex- 
 pression in falconry when a hawk forsakes its appointed prey, and flies 
 at inferior birds that chance to come in view. 
 
 And, like an eagle o'er his aiery, towers. 
 
 To souse annoyance that comes near his nest. — John, v. 2. 
 
 "Aiery," sometimes spelt 'eyry' (from the Teutonic eyrew, eggs), 
 means a bird's brood ; to " tower " is used in falconry to express the 
 spiral flight or soaring higher and higher of an eagle or hawk ; and to 
 " souse" is a technicality in hawking for the sudden plunge or stoop 
 which the bird makes when darting down upon its prey. 
 
 Imp out our drooping country's broken wing. — R. II., ii. i. 
 
 To ' imp a hawk ' was the term for an operation whereby any feathers 
 that the bird might have lost or injured were artificially supplied. 
 
 Which makes him prune himself, and bristle up 
 
 The crest of youth against your dignity. — i H. IV., i. i. 
 
 A hawk is said to "prune" itself, when it picks and ruffles its 
 feathers in order to dress them and set them in good condition. 
 
 All plum'd like estridges (that with the wind 
 
 Bated, like eagles having lately bath'd). — Ibid., iv. 2. 
 
 To " bate " means to flutter and beat the wings, and also to 
 sedulously spread and ruffle the feathers, as birds do after bathing, in 
 order that the air may speedily dry them. We think that Rowe's 
 
72S THE SHAKESPEARE KEY. 
 
 alteration of " with " to ' wing,' adopted by many other editors, spoils 
 this passage ; while the original Folio word appears to us to give the 
 author's meaning — the sentence, describing the impression produced by 
 the 'plumed warriors, being parenthetical. 
 
 Never anybody saw it but his lackey : 'tis a hooded valour ; and when it appears, it 
 will bate. — H. V., iii. 7. 
 
 Besides the allusion to the fact that when a hawk is unhooded it 
 beats, flaps, or flutters its wings, there is included a play upon the word 
 " bate " in its sense of ' abate,' ' diminish,' ' dwindle.' 
 
 Though his affections are higher mounted than ours, yet, when they stoop, they 
 stoop with the like wing. [See previous explanation of" stoop."] — Ibid., iv. i. 
 For our approach shall so much dare the field. 
 That England shall couch down in fear, and yield. — Ibid., iv. 2. 
 
 Birds are said to be " dared " when by the falcon in the air they are 
 terrified from rising, so that they may sometimes be taken by the hand. 
 Between two hawks, vthxch flies the higher pitch. — i H. VI., ii. 4. 
 Believe rae, lords, ioT flying at'the brook, 
 I saw not better sport these seven years' day : 
 Yet, by your leave, the wind was very high ; 
 And, ten to one, old Joan had not gone out. — 
 But what a point, my lord, your falcon made, 
 And what a pitch she flew above the rest ! . . . 
 No marvel, an it like your majesty. 
 My lord protector's hawks do tower so well ; 
 They know their master loves to be aloft, 
 And bears his thoughts above his falcon's pitch. — 2 H. VI., ii. i. 
 
 " Flying at the brook," or ' flying at birds of the brook,' meant 
 hawking at water-fowl ; and authorities in falconry assert that hawks 
 are very sensitive to wind. 
 
 Methinks I should not thus be led along, 
 Mail'd up in shame. — Ibid., ii. 4. 
 
 A hawk was said to be " mailed up " when she was wrapped up in a 
 cloth or handkerchief, that she might not stir her wings or struggle. 
 
 Neither the king, nor he that loves him best. 
 
 The proudest he that holds up Lancaster, 
 
 Dares stir a wing, if Warwick shake his bells. — 3 H. VI., i. i. 
 
 Hawks had small bells hung upon them ; the sound of which was 
 supposed to daunt birds that were hawked at. 
 
 Whose haughty spirit, winged with desire. 
 Will cost my crown, and like an empty eagle. 
 Tire on the flesh of me and of my son ! — Ibid., i. i. 
 
 To " tire" was to tear with the beak, to peck like a bird of prey, to 
 feed voraciously. The word " cost," in this passage, may elliptically 
 signify ' cost me ; ' but we think it very likely to have been a Folio 
 misprint for ' foot ' (in the sense of ' clutch ') as Shakespeare uses that 
 expression in the passage we below quote from " Cymbeline," v. 4, 
 where reference is also made to an " eagle." 
 
 This day should Clarence closely be mew'd up. — R. III., i. i. 
 
 More pity that the eagles should be mem'd. 
 
 While kites and buzzards prey at liberty. — Ibid., i. i. 
 
TECHNICALITIES. 729 
 
 The "mew" was the place where hawks were kept, and in which they 
 were confined while moulting. 
 
 Our aiery buildeth in the cedar's top, 
 And dailies' with the wind, and scorns the sun. . . . 
 Your aiery buildeth in our aiery's nest. — R. III., i. 3. 
 [See " aiery " previously explained.] 
 
 You must be watched ere yon be made tame, must you ? — Tr. &• Cr., iii. 2. 
 
 The/a/con as the tercel, for all the ducks i' the river. — Ibid., iii. 2. 
 
 " The falcon " is the female hawk, " the tercel " is the male hawk. 
 
 Hist ! Romeo, hist ! Oh, for a falconer's voice, 
 
 To lure this tassel-gentle back again ! — R. &• Jul., ii. 2. 
 
 "Tassel-gentle" is a corruption of 'tiercel-gentle' or 'tercel-gentle.' 
 The term " tiercel" was applied to the male of the goshawk, because 
 it is a ' tierce ' or ' third,' less than the female ; and the epithet "gentle" 
 was appended, because this kind of hawk is easily tamed, and because it 
 was a favourite with persons of gentle birth. 
 
 Hood my unmanned blood, bating in my cheeks, 
 With thy black mantle. — Ibid., iii. 2. 
 
 See "hooded," " man," and "bated," as previously explained under 
 the present heading. 
 
 To-night she is mew'd up to her heaviness. — Ibid., iii. 4. 
 
 Come, seeling night, 
 Scarf up the tender eye of pitiful day. — Macb., iii. 2. 
 
 " Seeling " means ' blinding' ; it being the custom to seel the eyes 
 of a hawk by sewing its upper and under lids together, in order to 
 accustom it to its hood. 
 
 Did you say all ? Oh, hell-kite ! All ? 
 What ! all my pretty chickens and their dam 
 At one fell swoop ? — Macb., iv. 3. 
 
 This is the expression used for the sweeping flight with which a bird 
 of prey descends upon the object of its pursuit. 
 
 There is, sir, an aiery of children, little eyases, that cry out on the top of question. — 
 Hamlet, ii. 2. 
 
 See " aiery" and " eyas-musket," previously explained. 
 
 If he be now return'd, 
 As checking at his voyage. — Ibid., iv. 7. 
 
 "Checking at" means 'flying startingly from'; see "checks," 
 previously explained. 
 
 Oh, ■well-flown, bird! — Lear, iv. 6. 
 This was the falconer's exclamation when the hawk was successful 
 in her flight. 
 
 I '11 watch him tame, and talk him out of patience. — 0th., iii. 3. 
 To seel her father's eyes up close as oak. — Ibid., iii. 3. 
 
 See " seeling," previously explained. 
 
 If I do prove her haggard. 
 Though that her jesses were my dear heart-strings, 
 I 'd whistle her off, and let her down the wind, 
 To prey at fortune. — Ibid., iii. 3. 
 
730 THE SHAKESPEARE KEY. 
 
 " Haggard " was the tenii for a degenerate, wild, irreclaimable, or 
 unreclaimed hawk; "jesses" were short thongs or straps of leather 
 attached to the foot of the hawk, which the falconer twisted round his 
 hand, to hold the bird firmly on the fist; "whistle her off" meant 
 ' dismiss her ; ' and as the falconer always let fly the hawk against the 
 wind, because if she flew with the wind behind her she seldom returned, 
 so, if a hawk for any reason were dismissed, she was " let down the 
 wind," to shift for herself. 
 
 But when we in our viciousness grow hard 
 
 (Oh, misery on't !), the wise gods seel our eyes. — Ant. &• C, iii. ii. 
 
 When thou shalt be disedg'd by her 
 That now thou tir^st on. — Cym., iii. 4. 
 
 " Disedg'd " means the edge of appetite taken off; for " tir'st," see 
 "tire," previously explained. 
 
 The holy eagle 
 Stoop' d, as to foot us : ... his royal bird 
 Prunes the immortal wing, and cloys his beak. — Ibid., v. 4. 
 
 To " foot " is to ' clutch in the talons.' " Cloys," ' cleys,' or ' clees,' 
 are old forms of ' claws ; ' and to claw their beaks is an accustomed 
 action with eagles and hawks. 
 
 Shakespeare uses several technicalities of hunting and sporting : — 
 
 How to deny them, whom t' advance, and whom 
 To trash for over-topping. — Temp., i. 2. 
 
 These are terms of the chase. To " trash " meant to check, stop, 
 or correct a hound ; " over- topping " meant outrunning the rest of the 
 pack. 
 
 For stale to catch these thieves. — Ibid., iv. i. 
 
 A " stale " was a fowling term ; and meant a decoy, lure, or bait. 
 
 I '11 warrant we '11 unkennel the fox. Let me stop this way first. So, now uncape. 
 — Merry W., iii. 3. 
 
 To " uncape " is to ' unearth.* 
 
 If I cry out thus upon no trail, never trust me when I open again. — Ibid., iv. 2. 
 To " cry out " and to " open " mean to bark at sight of the game ; 
 and " trail " is the track of scent left by its passage over the ground. 
 
 Divide me like a bribed buck, each a haunch : I will keep my sides to myself, my 
 shoulders for the fellow of this walk, and my horns I bequeath your husbands. Am I 
 a woodman, ha ? — Ibid., v. 5. 
 
 A " bribed buck " was a buck cut up into portions for distribution : 
 from French, bribe, a piece or portion ; " the fellow of this walk " 
 means the forester. " Woodman " was a title given to the forester's 
 attendant ; and meant one generally skilled in the sport of hunting 
 game. 
 
 I am glad, though you have ta'en a special stand to strike at me, that your arrow 
 hath glanced. — Ibid., v. 5. 
 
 A " Stand " was a refuge-place formed with boughs, wherein ladies 
 might station themselves to witness the sport of deer-shooting, and 
 from whence they might even take part in it, by aiming at the game 
 driven by the keepers near to them 
 
TECHNICALITIES. 731 
 
 He 's a better woodman than thou takest him for. — M.for M., iv. 3. 
 
 Here, as in the passage from " The Merry Wives of Windsor," 
 " woodman " is used in an equivocal sense, for a hunter of game, or 
 sportsman. 
 
 A hound that runs counter, and yet draws dry-foot well. — Com. of E., iv. 2. 
 
 To "run counter" meant to run in a contrary direction from the 
 game, by following on a wrong scent ; and to " draw dry-foot " meant 
 to track by the print left by the foot of the game. The terms are here 
 used with a play on the words. 
 
 That I will have a recheai winded in my forehead, or hang my bugle in an invisible 
 baldrick, all women shall pardon me. — M. Ado, i. i. 
 
 A " recheat " was a note sounded on a hunting-horn to call back the 
 hounds when they pursued a wrong scent, from the old French recet, 
 used for retraite ; and a " baldrick " was the belt in which the hunting- 
 horn or " bugle " was slung. 
 
 Stalk on, stalk on; the fowl sits. — Ibid., ii. 3. 
 
 This was a phrase used in reference to the ' stalking-horse ' ; a real 
 or painted and stuffed animal, from behind which sportsmen used to 
 shoot at their game. 
 
 The deer was, as you know, sanguis, — in blood. ... it was a buck of the first 
 head. . . . 'twas a pricket . . . ; some say a sore; . . . then sorel jumps from 
 thicket. — Love's L.L., iv. 2. 
 
 " In blood " signified in season, in good condition, fit for killing ; "a 
 buck of the first head " was the term given to a buck in its fifth year ; 
 "a pricket," in its second year; "a sore" in its fourth year; "a 
 sorel," in its third year. 
 
 The noblest deer hath them as huge as the rascal. — As You L., iii. 3. 
 
 " Rascal " was the term for lean deer. 
 
 He uses his folly like a stalking-horse, and under the presentation of that, he shoots 
 his wit. — Ibid., v. 4. 
 
 See above for the explanation of " stalking-horse." 
 
 Trash Merriman, — the poor cur is emboss'd ; 
 
 And couple Clowder with the deep-mouth'd brach. 
 
 Saw'st thou not, boy, how Silver made it good 
 
 At the hedge corner, in the coldest fault ? 
 
 I would not lose the dog for twenty pound. — 
 
 Why, Belman is as good as he, my lord ; 
 
 He cried upon it at the merest loss, 
 
 And twice to-day pick'd out the dullest scent. — Tam. ofS., Indue, i. 
 
 "Trash" has been previously explained; "emboss'd" signifies 
 foaming at the mouth, panting for breath, and wearied out ; " brach " 
 means a bitch-hound ; and " in the coldest fault " means ' when the scent 
 was at the coldest and the dogs were most at fault.' 
 
 We have almost embossed him. — All's W., iii. 6. 
 
 The expression here signifies ' run him down,' ' hunted him down,' 
 ' wearied him out.' 
 
 We'll make you some sport with the fox, ere we case him. — Ibid., iii. 6. 
 
732 THE SHAKESPEARE KEY. 
 
 Meaning, strictly, ' skin him ' ; figuratively, ' strip him of his de- 
 ceitful coverings,' ' unmask him.' 
 
 This same coxcomb that we have V the wind. — All's W., iii. 6. 
 
 Besides signifying ' that we have scent of,' the phrase meant ' that 
 we have got the upper hand of.' 
 
 Come, my young soldier, put up your iron: you are well fleshed ; come on. — 
 Tw. N., iv. I. 
 
 The phrase signified ' well initiated and well trained ' ; it being the 
 custom to initiate and train dogs by giving them flesh to eat, and to 
 establish them in practice by satiating them with it. 
 
 And then to sigh, as 'twere the mart o' the deer. — W. T,, i. 2. 
 This was the name given to a prolonged note blown on the hunting- 
 horn at the death of the deer. 
 
 Before the game 's a-foot, thou still Ictt'st slip. — i H. IV., i. 3. 
 To " let slip" was to free the dogs from the leash in which they were 
 held till the game was in view. 
 
 No more truth in thee than a drawn fox. — Ibid., iii. 3. 
 A fox drawn from his cover to be hunted. 
 
 Come, you thin thing ! come, you rascal ! — 2 H. IV., v. 4. 
 Turn head, and stop pursuit ; for coward dogs 
 Most spend their mouths, when what they seem to threaten 
 Runs far before them. — H. V., ii. 4. 
 
 To " spend their mouths " is to bark superfluously. 
 
 I see you stand like greyhounds in the slips, 
 
 Straining upon the start. The game 's a-foot. — Ibid., iii. i. 
 
 " Slips " are straps of leather by which hounds are held in couples, 
 so as to let two start together. 
 
 If we be English deer, be, then, in blood ; 
 
 Not rascal-like, to fall down with a pinch. 
 
 But rather, moody-mad and desperate stags. 
 
 Turn on the bloody hounds with heads of steel. 
 
 And make the cowards stand a.\ooi at bay. — i H. VI., iv. 2. 
 
 Thou rascal, that art worst in blood to run. — Coriol., i. i. 
 
 I 'd make a quarry 
 With thousands of these quarter'd slaves. — Ibid., i. i. 
 
 A " quarry " meant not only a heap of slaughtered game, but also the 
 offal portion given to hounds as a reward for having hunted well. 
 
 When they shall see, sir, his crest up again, and the man in blood, they will out of 
 their burrows, like conies after rain, and revel all with him. — Ibid., iv. 5. 
 Here wast thou bay'd, brave hart ; 
 Here didst thou fall ; and here thy hunters stand, 
 Sign'd in thy spoil, and crimson'd in thy lethe. — jfnl. C, iii. i. 
 
 " Bay'd " here means ' brought to bay.' 
 
 Fortune on his damned quarry smiling. — Macb., i. 2. 
 Were, on the quarry of these murder'd deer. 
 To add the death o{ you.— Ibid., iv. 3. 
 Why do you go about to recover the wind of me, as if you would drive me into a 
 toil ? — Hamlet, iii. 2. 
 
TECHNICALITIES. 733 
 
 This means ' to take advantage by getting to the windward.' See 
 " have i' the wind," previously explained. 
 
 How cheerfully on the false trail they cry ! 
 
 Oh, this is counter, you false Danish dogs ! — Hamlet, iv. 5. 
 
 See " trail " and " counter," previously explained. 
 This quarry cries on havoc. — Ibid., v. 2. 
 You, Polydore, have prov'd best woodman, and 
 Are master of the feast. — Cym., iii. 6. 
 
 Shakespeare uses a technicality of angling : — 
 
 I am angling now, 
 Though you perceive not how I give line. — W. T., i. 2. 
 
 And many technicalities of archery : — 
 
 Behold her that gave aim to all thy oaths, 
 And entertain'd them deeply in her heart : 
 How oft hast thou with perjury cleft the root. — Two G. of V., v. 4. 
 
 "Gave aim" means 'formed the mark;' and "cleft" means 
 ' pierced ' or ' hit.' 
 To these violent proceedings all my neighbours shall cry aim. — Merry W., iii. 2. 
 
 An expression of encouragement used first among archers, and after- 
 wards colloquially, to signify incitement or approval. 
 I 'II make a shaft or a bolt on 't. — Ibid., iii. 4. 
 
 A " shaft " was a sharp arrow used by skilful archers ; a " bolt " was 
 a blunt one, employed to shoot birds ; so that the phrase in the text 
 became a proverbial phrase, signifying, ' I'll do it either cleverly or 
 clumsily,' 'hit or miss.' 
 
 Believe not that the dribbling dart of love 
 Can pierce a complete bosom. — M.for M., i. 4. 
 
 A poor marksman was called ' a dribbler.' 
 
 Challenged Cupid at the flight ; and my uncle's fool, reading the challenge, sub- 
 scribed for Cupid, and challenged him at the bird-bolt. — M. Ado, i. i. 
 
 A "flight" was a long sharp arrow; the " bird-bolt" was a short, 
 thick, blunt one, the use of which was permitted to fools and jesters. 
 Cupid's butt-shaft is too hard for Hercules' club. — Love's L. L., i. 2. 
 
 A " butt-shaft " was an arrow used for shooting at butts with ; the 
 " butt" being the place on which the mark to be aimed at was set. 
 
 Hereby, upon the edge of yonder coppice ; 
 
 A stand where you may make the fairest shoot. — Ibid., iv. i. 
 
 Wide 0' the bow-hand ! i' faith, your hand is out. — 
 
 Indeed, 'a must shoot nearer, or he'll ne'er hit the clout. — 
 
 An if my hand be out, then belike your hand is in. — 
 
 Then will she get the upshot by cleaving the fin. — Ibid., iv. i. 
 
 " Wide o' the bow-hand " meant a shot too much to the left of the 
 mark; "the clout" was the white mark at which archers took aim; 
 and " cleaving the pin " meant hitting the centre of the butts. 
 'Twas I won the wager, though you hit the white. — Tarn, of S., v. 2. 
 
 This term meant to win by hitting the centre of the target, which was 
 generally painted white. 
 
734 THE SHAKESPEARE KEY. 
 
 His death will be a march of twehe-score. — i H. IV., ii. 4. 
 
 This, in archery language meant ' twelve-score yards.' 
 
 He drew a good bow ; — and dead ! he shot a fine shoot : ... he would have clapped 
 in the clout at twelve-score ; and carried you afore-hand shaft a fourteen and fourteen 
 and a half. — 2 H. IV., iii. 2. 
 
 "A fore-hand shaft" was an arrow peculiarly constructed for 
 shooting straightforward. 
 
 Shot thorough the ear with a love-song ; the very pin of his heart cleft with the blind 
 bow-boy's butt-shaft. — R. &• yul., ii. 4. 
 
 The " pin " was the black nail in the centre of the " clout " or white 
 mark at which archers took aim. 
 
 So that my arrows, 
 Too slightly timbered for so loud a wind. 
 Would have reverted to ray bow again, 
 And not where I had aim'd them. — Hamlet, iv. 6. 
 
 This shows knowledge of an axiom in archery, that ' light shafts 
 cannot stand in a rough wind.' 
 
 Let me still remain the true blank of thine eye. — Lear, i. i. 
 This was another term for the white mark at which shooters aimed. 
 
 That fellow handles his bow like a crow-keeper : draw me a clothier's yard. . . . i' 
 the clout, V the clout. — Ibid., iv. 6. 
 
 For the purpose of keeping crows from the corn, a fellow with a bow 
 and arrow, or a stuffed figure similarly armed, were employed ; and " a 
 clothier's yard " meant an arrow the length of a clothier's yard. 
 
 Shakespeare uses some technicalities of gunnery : — 
 
 What 's this ? a sleeve ? 'tis like a demi-canncn. — Tain, of S., iv. 3. 
 
 This was a great gun, six and a half inches diameter in the bore, 
 twelve feet long; carrying a shot six inches one-sixth diameter, and 
 
 thirty-two pounds weight. 
 
 The harlot king 
 Is quite beyond mine arm, out of the blank 
 And level of my brain, plot-proof, — W. T., ii. 3. 
 
 The " blank " means the ' mark' ; the " level " means the ' range,' 
 the ' space within aim.' 
 
 My life stands in the level of your dreams. — Ibid., iii. 2. 
 Such as fear the report of a caliver worse than a struck fowl, or a hurt wild-duck. — 
 
 1 H. IV., iv. 2. 
 
 A "caliver" (which is a corruption of 'caliber') was a hand-gun, 
 smaller and lighter than a musket, with a bore, or caliber, of a particular 
 size. 
 
 Put me a caliver into Wart's hand. . . . Come, manage me your caliver. — 
 
 2 H, IV., iii. 2. 
 
 As level as the cannon to his blank. — Hamlet, iv. i. 
 
 This, 
 Like to a m.urdering-piece, in many places 
 Gives me superfluous death. — Ibid., iv. 5. 
 
 The name given to a small piece of ordnance, that had several 
 barrels. It was charged with bullets, nails, old iron, &c. ; and with it 
 could be kept up a murderously raking fire. 
 
TECHNICALITIES. 735 
 
 I have words to speak in thine ear will make thee dumb ; yet are they much too light 
 for the bore of the matter. — Hamlet, iv. 6 [Letter). 
 
 The " bore " means the caliber or circumferential size of a gun barrel. 
 
 And stood within the blank of his displeasure.— OiA., iii. 4. 
 
 And several military technicalities : — 
 
 He that sets up his rest to do more exploits with his mace than a morris-pike. — 
 Com. of E., iv. 3. 
 
 The expression " sets up his rest " is here used in the double sense 
 it bore as a gaming technicality and as a military technicality ; as the 
 latter, meaning planted the " rest " in which pikes were occasionally 
 fixed to receive a charge during an engagement. " Mace " is here used 
 in the double sense it bore as a sergeant's staff of office, and as the 
 weapon employed both in battles and tournaments ; and a " morris- 
 pike " meant a Moorish pike ; that being a military weapon much used 
 in the sixteenth century. 
 
 He had the honour to be the officer at a place there called Mile End, to instruct for 
 the doubling of files. — All's W., iv. 3. 
 
 In reference to the military evolution of ' marching in double file,' or 
 two by two. 
 
 He that is well hanged in this world needs to fear no colours. ... I can tell thee 
 where that saying was born, of, I fear no colours ... In the wars. — Tw. N., i. 5. 
 
 The phrase was of military origin, signifying ' fear no foe, under 
 whatever colours he may fight ' ; but it came to be familiarly used, 
 meaning ' fear no threats or danger, under whatever aspect they may 
 approach.' 
 
 Cry, havock, kings ! back to the stained field. — jfohn, ii. 2. 
 " Havock " was the word used in war as a declaration that no quarter 
 should be given. 
 
 Tut, tut ; good enough to toss. — i H. IV., iv. 2. 
 
 " To toss " here means to be tossed upon a pike ; the expression for 
 handling the weapon called a pike being to " toss." 
 
 Hold, Wart, traverse ; thus, thus, thus. — 
 
 Come, manage me your caliver ... he would manage 
 
 You his piece thus. — 2 H. IV., iii. 2. 
 
 "Traverse" was an ancient military term for "march"; and 
 " manage " was the technical military expression, applied to arms or 
 weapons, signifying ' handle,' ' manipulate,' ' use.' 
 
 To a loud trumpet or a point of war. — Ibid., iv. i. 
 
 This was the term for a warlike flourish, a martial call to arms 
 played on some instrument. 
 
 Fear no colours : go with me to dinner. — Ibid., v. $. 
 The soldiers should have toss'd me on their pikes 
 Before I would have granted to that act. — 3 H. VI., i. I. 
 Do not cry havock, where you should but hunt 
 With modest warrant. — Coriol., iii. i. 
 The centurions and their charges, distinctly billeted, already in the entertainment, 
 and to be on foot at an hour's warning. — Ibid., iv. 3. 
 
736 THE SHAKESPEARE KEY. 
 
 This expression meant ' in pay.' 
 
 All places yield to him ere he sits damn. — CorioL, iv. 7. 
 
 To ' sit down before a place ' meant ' prepare to capture it,' ' com- 
 mence besieging it.' 
 
 Kill, kill, kill, kill, kill him !— 
 Hold, hold, hold, hold ! — Ibid., v. 5. 
 
 The first of these exclamations was the word formerly given, when 
 an onset was made upon the enemy ; the second was the phrase used 
 when parting combatants. 
 
 Cry, "Havock," and let slip the dogs of war. — y«Z. C, iii. i. 
 
 Nor heaven peep through the blanket of the dark. 
 
 To cry, Hold, hold! — Macb., i. 5. 
 
 And damn'd be him that first cries, " Hold, enough ! " — Ibid., v. 7. 
 
 This quarry cries on havock. — Hamlet, v. 2. 
 
 Then, kill, kill, kill, kill, kill, kill! — Lear, iv. 6. 
 
 Dispose of them, of me ; the walls are thine. — Ibid., v. 2. 
 
 This is equivalent to ' the besieged city surrenders.' 
 
 Traverse ; go; provide thy money. — 0th., i. 3. 
 
 If the general camp, pioneers, and all. — Ibid., iii. 3. 
 
 These were generally degraded soldiers ; appointed to be "pioneers, ' 
 as a punishment for misbehaviour. 
 
 He uses some technicalities of tilting and tourneying : — 
 
 Sir, I shall meet your wit in the career, an you charge it against me. I pray you 
 choose another subject. 
 
 Nay, then give him another staff; this last was broke cross. — M. Ado, v. i. 
 
 To " meet in the career" meant to encounter at full gallop ; and it 
 was reckoned a great disgrace to have the lance broken across the body 
 of an opponent, instead of by a thrust with the point. 
 
 Full merrily 
 Hath this brave manage, this career been run. — Lovers L. L., v. 2. 
 
 " Manage " meant the controlment or government of a horse. 
 
 I would I had ; so I had broke thy pate, 
 And ask'd thee mercy for 't. — 
 Good faith, across. — All's W., ii. i. 
 
 See " broke cross," previously explained. 
 I am courtier cap-a-pe. — W. T., iv. 3. 
 
 This expression, meaning ' from head to foot,' was originally 
 employed to express clad in a complete suit of armour ; but came to be 
 more generally applied. 
 
 Which now the manage of two kingdoms must 
 
 With fearful bloody issue arbitrate. — jfohn, i. i. 
 
 Or, if misfortune miss the first career, 
 
 Be Mowbray's sins so heavy in his bosom, 
 
 That they may break his foaming courser's back. 
 
 And throw the rider headlong in the lists. — R. II., i. 2. 
 
 Stay, the king hath thrown his warder down. — Ibid., i. 3. 
 
TECHNICALITIES. 737 
 
 This was a kind of truncheon or staff, held by the umpire who presided 
 at trials by combat ; when thrown up, it was a signal to charge ; when 
 " thrown down," a signal to desist. 
 
 And stickley-like the armies separates. — Tr. &• Cr., v. g. 
 
 A " stickler" was the name given to the person appointed as umpire 
 in combats or trials of skill, and to decide when the contest should 
 cease ; which he signified by interposing the stick, staff, or wand that 
 he bore for the purpose. 
 
 Rather than so, come, fate, into the list, 
 
 And champion me to the utterance ! — Macb., iii. i. 
 
 Derived from the French phrase ci Voutrance ; signifying ' to the 
 uttermost,' ' to extremity,' or ' unto death.' 
 
 Arm'd at all points exactly, caf-a-pe. — Hamlet, i. 2. 
 Behoves me keep at utterance. — Cym., iii. i. 
 
 Several technicalities of fencing and duelling : — 
 
 Come from thy ward. 
 For I can here disarm thee with this stick, 
 And make thy weapon drop. — Temp., i. 2. 
 
 " Ward " means ' posture of defence.' 
 
 In these times you stand on distance, your passes, stoccadoes, and I know not what : 
 'tis the heart. Master Page ; 'tis here, 'tis here. I have seen the time, with my long 
 sword, I would have made you four tall fellows skip like rats. — Merry W., ii. i. 
 
 " Distance," "passes," and " stoccadoes" were terms used in rapier- 
 fencing ; while the " long sword " was often a weapon of such length 
 as to require both hands used in raising it. 
 
 To see thee fight, to see thee/oJ», to see thee traverse ; to see thee here, to see thee 
 there; to see thee pass itiy punto, thy stock, thy reverse, thy distance, thy montant. — 
 Ibid., ii. 3. 
 
 " Foin " was to make a fencing-thrust ; " traverse " was to baffle by 
 shifting place; " punto," "stock," "reverse," and "montant" were 
 terms derived from the Italian fencing-school. 
 
 Sir boy, I '11 whip you from your foining fence. — M. Ado, v. i. 
 If he be, he knows how to turn his girdle. — Ibid., v. i. 
 
 A phrase familiarly used as a challenge to fight. It arose from the 
 practice of wearing the sword at the back ; so that, to bring it round 
 ready for use, the belt or girdle had to be turned or shifted. The belt 
 was fastened in front by a buckle, which, in wrestling, used to be turned 
 behind, to give the adversary a fairer grasp at the girdle ; and thus the 
 phrase, as a challenge, had a double origin. 
 
 Thy wit is as quick as the greyhound's mouth — it catches. — And yours as blunt as 
 the fencer's foils, which hit, but hurt not. — A most manly wit, Margaret ; it will not 
 hurt a woman: and so, I pray thee, call Beatrice: / give thee the bucklers. — Ibid., v. 2. 
 
 This phrase originated at sword and buckler practice, and passed into 
 current use, signifying, ' I yield,' ' I own myself defeated.' 
 
 The first and second cause will not serve my turn ; the passado he respects not, the 
 duello he regards not. — Love's L. L.,i. 2. 
 
 Technical terms derived from the treatises of Italian writers on the 
 art of defence. 
 Dismount thy tuck, be yare in thy preparation. — Tw. N., iii. 4. 
 
 3 B 
 
738 THE SHAKESPEARE KEY. 
 
 The " tuck " was a rapier (in later times called ' a small sword ') ; 
 from the Italian stocco. 
 
 Hob, nob, is his word; give't or take't. — Tw. N., iii. 4. 
 
 This phrase, used in drinking as well as fighting, is probably a cor- 
 ruption of 'hab or nab,' and derived from the Saxon, habban, to have, 
 and nabban, not to have. 
 
 I had a pass with him, rapier, scabbard, and all, and he gives me the stuck in, with 
 such a mortal motion, that it is inevitable ; and on the answer, he pays you as surely 
 as your feet hit the ground they step on : they say he has been fencer to the Sophy. — 
 Ibid., iii. 4. 
 
 " Stuck in " is derived from the Italian stoccata, ' thrust.' 
 
 He cannot by the duello avoid it. — Ibid., iii. 4. 
 
 Thou knowest ray old ward ; — here I lay, and thus I bore my point. — i H. IV., ii. 4. 
 
 He fights as you sing prick-song, keeps time, distance, and proportion; rests me his 
 minim rest, one, two, and the third in your bosom : the very butcher of a silk button, a 
 duellist, a duellist ; a gentleman of the very first house,— of the first and second cause : 
 ah I the immortal passado ! thepunto reverso ! the hay ! — R. &> yuL, ii. 4. 
 
 The expression "of the very first house" and "of the first and 
 second cause " are styles of excellence in the art of quarrelling, as 
 belonging to one who would be master of all its degrees, according to 
 the books and treatises upon this subject. " Hay" is derived from the 
 Italian word hai, ' thou hast it ' ; and was used when a thrust told upon 
 an opponent, as in modern fencing phraseology " ha ! " is employed. 
 
 A la stoccata carries it away. . . . Come, sir, your passado. — Ibid., iii. i. 
 
 If he by chance escape your venom'd stuck. — Hamlet, iv. 7. 
 
 Come ; no matter vor your foins. — Lear, iv. 6. 
 
 Several marine and nautical technicalities : — 
 
 Bring her to try with main-course. . . . Lay her a-hold, a-hold! set her two courses: 
 off to sea again ; lay her off. — Temp., i. i. 
 
 "To try with main-course" is explained in Smith's Sea Grammar, 
 1627, thus : — ' To hale the tacke aboord, the sheat close aft, the boling 
 set up, and the helm tied close aboord; ' to " lay her a-hold " is to bring 
 the ship to lie as near the wind as she can ; and " set her two courses " 
 means to set two of the three largest and lowest sails. 
 
 Clap on more sails; pursue ; up with youi fights ; 
 
 Give fire ; she is my prize, or ocean whelm them all! — Merry W., iv. 2. 
 
 " Fights " was the name for waist-cloths hung round a ship to 
 prevent the men from being seen during an engagement. 
 
 The ship is under sail, and here she comes amain. — Love's L. L., v. 2. 
 My ventures are not in one bottom trusted. — Mer. of V., i. i. 
 Will you hoist sail, sir? here lies your way. — No, good swabber; I am to hull here 
 a little longer. — Tw. N., i. 5. 
 
 " Swabber" is the sweeper of a deck; and to " hull" is to drive to 
 and fro upon the water without sails or rudder. 
 
 A bawbling vessel was he captain of. 
 For shallow draught and bulk unprizable ; 
 With which such scathful grapple did he make 
 With the most noble bottom of our fleet. — Ibid., v. i. 
 You had much ado to make his anchor hold : 
 When you cast out, it still came home. — W. T., i. 2. 
 
TECHNICALITIES. 739 
 
 Meaning, ' it could not be made to take hold.' 
 
 Than now fhe English bottoms have waft o'er. — yohn, ii. i. 
 Provokes the mightiest hdk against the tide. — i H. VI., v. 5. 
 And there they hull, expecting but the aid. — R. III., iv. 4, 
 
 Thus hulling in 
 The wild sea of my conscience, I did steer 
 Toward this remedy. — H. VIII., ii. 4. 
 
 And sounded all the depths and shoals of honour. — Ibid., iii. 2. 
 Light boats sail swift, though greater hulks draw deep. — Tr. & Cr., ii. 3. 
 Mine honour keeps the weather of my fate. — Ibid., v. 3. 
 This phrase means, ' has the advantage of the wind,' 'keeps to wind- 
 ward '; figuratively used to express, ' maintains superiority over.' 
 
 Omitted, all the voyage of their life 
 
 Is bound in shallows and in miseries. — yul. C, iv. 3. 
 
 " Bound " is here used as it is in such sea-terms as ' weatherbound,' 
 or ' windbound ' ; and therefore well expresses ' held fast,' ' hemmed 
 in,' ' kept still.' 
 
 She once being loofd. 
 The noble ruin of her magic, Antony, 
 Claps on his sea- wing. — Ant. &• C, iii. 8. 
 
 " Loofd " is an old form of ' luffed ' ; which means, ' brought close 
 to the wind,' ' sailed before the wind,' ' went to windward.' 
 
 Slack the bolins there ! . . . But sea-room, an the brine and cloudy billow kiss the 
 moon, I care not. . . . Your queen must overboard . . . she must overboard straight. 
 — Per., iii. i. 
 
 "Bolins" is a sailorly pronunciation of 'bow-lines': meaning the 
 ropes by which the sails of a ship are governed when the wind is 
 unfavourable, and which are slackened when it is high. 
 
 Several technicalities of horsemanship and farriery : — 
 
 And so conclusions passed the careires. — Merry W., i. i. 
 
 This was a term of the manege, for running at full speed. 
 Ay, that I will, come cut and long-tail, under the degree of a squire. — Ibid., iii. 4. 
 
 A " cut " meant a horse with a docked tail ; and " long-tail," a horse 
 with an undocked tail. The phrase "come cut and long-tail " was 
 used proverbially to express, ' whatever kind may come.' 
 
 Sir, give him head : I know he '11 prove a jade. — Tarn, of S., i. 2. 
 
 This term means letting the rein or bridle lie loose, so as to give the 
 horse his own course. 
 
 His horse hipped with an old mothy saddle, and stirrups of no kindred ; besides, 
 possessed with the glanders, and like to mose in the chine ; troubled with the lampass, 
 infected with the fashions, full of windgalls, sped with spavins, raied with the yellows, 
 past cure of the fives, stark spoiled with the staggers, begnawn with the bots, swayed 
 in the back, and shoulder-shotten ; ne'er legged before. — Ibid., iii. 2. 
 
 These are all diseases and defects to which horses are subject. 
 
 The poor jade is wrung in the withers. . . . That is the next way to give poor jades 
 the bots.— I H. IV., ii. i. 
 
 "Wrung" means 'strained' or ' wryed,' and also 'galled' or 
 'hurt'; "the withers" is the joining of the shoulder-blades at the 
 bottom of the neck and mane of a horse. 
 
 I will not change my horse with any that treads but on io\:i pasterns. — H. V., iii. 7. 
 
 3 B 2 
 
740 THE SHAKESPEARE KEY. 
 
 The " pastern " is that part of the leg of a horse between the joint 
 next the foot and the coronet of the hoof. * 
 
 Their wounded steeds bet fetlock deep in gore. — H. V., iv. 7. 
 
 The " fetlock " is a tuft of hair that grows behind the pastern-joint 
 of a horse. 
 
 And given unto the house of York such head, 
 As thou shall reign but by their sufferance. — 3 H. VI., i. i. 
 Let the galled jade wince, our withers are unwrung. — Hamlet, iii. 2. 
 Some technicalities of bear-baiting : — 
 
 Are these thy bears ? we '11 bait thy bears to death, 
 And manacle the bear-ward in their chains. 
 If thou dar'st bring them to the baiting-place. — 2 H. VI., v. i. 
 Or as a bear, encompass'd round with dogs, — 
 Who having pinch'd a few, and made them cry, 
 The rest stand all aloof, and bark at him. — 3 H. VI., ii. i. 
 Let us do so, for we are at the stake, 
 And bay'd about with many enemies. — yul. C, iv. i. 
 They have tied me to a stake ; I cannot fly. 
 But, bear-Iike, I must fight the course. — Macb., v. 7. 
 I am tied to the stake, and I must stand the course. — Lear, iii. 7. 
 Several, of gaming : — 
 
 Let vultures gripe thy guts ! for gourd andfullam holds. 
 And high and low beguile the rich and poor. — Merry W., i. 3. 
 These were gamblers' names for false dice. 
 
 He that sets up his rest to do more exploits. — Com. of E., iv. 3. 
 This expression is here partly used in its sense as a military 
 technicality [S«e the passage, as previously explained, under the present 
 heading], and partly in its sense as a gaming technicality ; as the latter, 
 it was used at the game of primero, signifying to remain satisfied with 
 the hand then held. Thence, it came to mean being resolved or 
 determined ; also, to have made up one's mind, or to be convinced. 
 She hung about my neck ; and kiss on kiss 
 She vied so fast, protesting oath on oath. — Tam. of S., ii. i. 
 
 " Vied " signifies ' proffered in competition ; ' to " vie " and " re- vie " 
 were terms used in the game of primero, signifying to stake or wager 
 the goodness of one hand of cards against another. 
 Gremio is out-vied. — Ibid., ii. i. 
 Yet I have/ac'rf it with a card of ten. — Ibid., ii. i. 
 Meaning, ' made a bold stand by playing one of the highest cards in 
 the pack.' 
 
 Since you set up your rest 'gainst remedy. — AlVs W., ii. i. 
 The odds for high and low 's alike. — W. T., v. i. 
 If what in rest you have in right you hold. — jfohn, iv. 2. 
 Who sets me else ? By Heaven, I '11 throw at all. — R. II., iv. i. 
 " Sets " meant ' offers a wager,' ' defies competition ' ; and " throw," 
 to cast the dice. 
 
 There lies a cooling card. — i H. VI., v. 3. 
 This was the term for a card so decisive as to cool the courage of an 
 adversary. 
 
 But whiles he thought to steal the single ten. 
 
 The king was slily finger'd from the deck ! — 3 H. VI., v. i. 
 
TECHNICALITIES. 74' 
 
 " Deck " was an old term for a pack of cards. 
 
 Yes, if I make my play. — H. VIII., i. 4. 
 Meaning, ' win the game/ 
 
 And hardly shall I carry out my side, — Lear, v. i. 
 ' Succeed in winning the game.' 
 
 Or Cassio him, or each do kill the other, 
 
 Every way makes my game. — 0th., v. i. , 
 
 She, Eros, has 
 Pack'd cards with Cssar, and false play'd my glory 
 Unto an enemy's triumph, — Ant. &• C, iv. 12. 
 
 To " pack cards " meant to shuffle them unfairly ; and " triumph " 
 is, ' trump-card.' 
 
 Nature wants stuff to vie strange forms with fancy. — Ibid., v. 2. 
 Some technicalities of bowling : — 
 
 Commodity, the bias of the world ; 
 
 The world, who of itself is peized well, 
 
 Made to run even upon even ground, 
 
 Till this advantage, this vile drawing bias. 
 
 This sway of motion, this commodity, 
 
 Makes it take head from all indifferency, 
 
 From all direction, purpose, course, intent : 
 
 And this same bias, this commodity. 
 
 This cheat, this broker, this all-changing word, 
 
 Clapp'd on the outward eye of fickle France, 
 
 Hath drawn him from his own determined aid. — yohn, ii. 2. 
 
 " Bias " is the weight lodged on one side of a bowl, which turns it 
 from the straight line ; and "eye " was the term for the aperture in 
 which the weight or " bias " that swaya it is lodged. 
 
 Madam, we '11 play at bowls. — 
 
 'Twill make me think the world is full of rubs. 
 
 And that my fortune runs against the bias. — R, II,, iii. 4. 
 
 " Rubs " are the inequalities of ground that hinder the motion of a 
 
 bowl. 
 
 So, so ; rub on, and kiss the mistress. — Tr, &• Cr., iii. 2. 
 
 The "mistress" or "jack" is the name for the smaller bowl, used 
 as a mark for the other bowls ; and when any of them " kiss " and 
 remain close to it, an advantage is gained. 
 
 To sleep ! perchance to dream : ay, there 's the rub, — Hamlet, iii. i. 
 Whose disposition, all the world knows, 
 Will not be rubb'd nor stopp'd. — Lear, ii. 2. 
 Was there ever man had such luck ! when I kissed the jack, upon an upcast to be 
 hit away ! — Gym,, ii. i. 
 
 A few instances of tennis and racket : — 
 
 Well bandied both; a set of wit well play'd. — Love's L, L,, v. 2. 
 To " bandy " is to send the ball from one to another ; and a " set " 
 means a game. 
 
 But that the tennis-court keeper knows better than I ; for it is a low ebb of linen 
 with thee when thou keepest not racket there. — 2 H. IV., ii. 2. 
 
 This passage shows that racket-players usually played, as the phrase 
 goes, ' in their shirt-sleeves ' ; so that when Master Poins' stock of 
 
742 THE SHAKESPEARE KEY. 
 
 linen was worn out, he could not frequent the tennis-court, because he 
 could not take off his coat while keeping up the game. 
 
 When we have match'd our rackets to these balls, 
 We will, in France, by God's grace, play a set 
 Shall strike his father's crown into the hazard. 
 Tell him he hath made a match with such a wrangler 
 That all the courts of France will be disturb'd 
 With chases.— H. V., i. 2. 
 
 The " hazard " was a portion of the tennis-court into which the ball 
 was occasionally struck ; " wrangler " meant a player who runs back, 
 yet does not cease to contend ; and " chases " meant contests between 
 tennis-players, during which the object is on each side to keep up the 
 ball. 
 
 She would be as swift in motion as a ball ; 
 
 My words would bandy her to my sweet love. 
 
 And his to me. — R. &• jful., ii. 5. 
 
 Some of wrestling : — 
 
 We all were sea-swallow'd, though some cast again. — Temp., ii. i. 
 The word " cast " is here used in various senses [See Varied 
 Meanings Combined, &c.] ; but as employed in wrestling it means 
 ' thrown.' 
 A disposition to come in disguised against me to try a fall. — As You L., i. i. 
 The eldest of the three wrestled with Charles, the duke's wrestler ; which Charles in 
 a moment threw him, and broke three of his ribs. — Ibid., i. 2. 
 You shall try but one fall. — Ibid., i. 2. 
 
 It is young Orlando that tripped up the wrestler's heels and your heart, both, in an 
 instant. — Ibid., iii. 2. 
 
 Being too strong for him, though he took up my legs sometime, yet I made a shift to 
 cast him. — Macb., ii. 3. 
 
 Nor tripped neither, you base foot-ball player. — Lear, i. 4. 
 Flattering his displeasure, trifp'd me behind. — Ibid,, ii. 2. 
 Some convivial technicalities : — 
 
 Why, now you have done me right. — 
 
 Do me right, and dub me knight. — 2 H. IV., v. 3. 
 
 These phrases signified ' pledged me,' or ' pledge me,' and ' drunk as 
 deep as I do,' or ' drink as deep as I do.' 
 
 Should find a running banquet ere they rested. — H. VIII., i. 4. 
 Besides the running banquet of two beadles. — Ibid., v. 3. 
 This was the term given to a light repast taken hastily ; and 
 generally consisted of fruit, cakes, sweetmeats, wines, &c. 
 
 By the mass, you'll crack a quart together. — 2 H. IV., v. 3. 
 I pray, come and crush a cup of wine. — R. &• yul., i. 2. 
 These were phrases in use formerly, equivalent to the modern one of 
 ' crack a bottle.' 
 
 We 'U teach you to drink deep ere you depart. — Hamlet, i. 2. 
 
 To the health of our general ! 
 
 I am for it, lieutenant; and I'll do you justice. — 0th., ii. 3. 
 
 Meaning, ' drink as much as you do ' ; ' honour your toast.' 
 
 The technical call to tapsters, and the technical reply of tapsters : — 
 
 Spent with crying " Bring in ! " — i H. IV., i. 2. 
 
 Francis ! — Anon, anon, sir. — Ibid., ii. 4. 
 
TECHNICALITIES. 743 
 
 Some theatrical technicalities : — 
 
 Though some cast again ; 
 And by that destiny, to perform an act, 
 Whereof what 's past is prologue ; what to come. 
 In yours and my discharge. — Temp., ii. i. 
 
 See " cast," previously explained as a term in wrestling ; which is 
 one of the senses the word bears in this passage. It also includes the 
 sense of ' cast ' (or selected) for a part in a play. " Discharge " was 
 formerly sometimes used for ' enact ' or ' act ' a part in a play. 
 
 When I presented Ceres, I thought to have told thee. — Ihid., iv. i. 
 
 " Presented " was sometimes used for ' represented,' ' enacted,' or 
 ' performed.' 
 
 Go get us properties, and tricking for our fairies. — Merrv W., iv. 4. 
 
 " Properties " are stage necessaries. 
 
 Speak, count, 'tis your cue. — M. Ado, ii. i. 
 
 The "cue" means the concluding words of a speech, which give 
 warning to the next speaker that his turn is come to speak. 
 
 Great Hercules is presented by this imp. — Love's L. L., v. 2. 
 
 I will discharge it in either your straw-colour beard . . . here are your parts . . . 
 there will we rehearse . . I will draw a bill of properties . . . take pains ; be 
 perfect.— Mid. N. D., i. 2. 
 
 Here 's a marvellous convenient place for our rehearsal. This green plot shall be 
 our stage, this hawthorn-brake our 'tiring-house. — Ibid., iii. i. 
 
 This was the place wherein the actors attired themselves — their 
 dressing-room. 
 
 So every one according to his cue . . . you speak all your part at once, cues and all. 
 Pyramus, enter: your cue is past; it is, " never tire." — Ibid., iii. i. 
 
 You have not a man in all Athens is able to discharge Pyramus but he. — Ibid., iv. 2. 
 
 Say, what abridgment have you for this evening ? — Ibid., v. i. 
 
 An " abridgment " was a brief performance, or short entertainment. 
 
 Had you not come upon your cue, my lord, 
 William Lord Hastings had pronounc'd your part, 
 I mean, your voice, for crowning of the king. — R. III., iii. 4. 
 How chances it they travel ? — Hamlet, ii. 2. 
 This was the term for those actors who went about the country 
 giving performances at various places ; something equivalent to 
 ' strolling players.' 
 
 And are most tyrannically clapped for't. — Ibid., ii. 2. 
 Familiarly used for ' applauded.' 
 
 So berattle the common stages (so they call them) ... if they should grow them- 
 selves to common players. — Ibid., ii. 2. 
 
 This word " common " was technically used to express what is more 
 modernly called ' strolling.' 
 
 Look, where my abridgment comes. — Ibid., ii. 2. 
 
 Shakespeare uses several musical technicalities [See Musical 
 Terms] ; and a few of painting : — 
 
 To sit and draw 
 His arched brows, his hawking eye, his curls, 
 In our heart's table. — All's W., i. i. 
 
744 THE SHAKESPEARE KEY. 
 
 This was the term for the panel, canvas, or other substance upon 
 which a picture is painted. 
 
 Drawn in the flattering table of her eye. — John, ii. 2. 
 That, though the truth of it stands off as gross 
 As black from white, my eye will scarcely see it. — H. V., ii 2. 
 So 'tis; this comes offvrell and excellent. — Timon, i. i. 
 
 " Stands off" and " comes off " are used as ' stands out ' or ' stands 
 forth ' are used by artists to express ' is brought into relief,' ' is made 
 boldly and distinctly prominent.' 
 
 To this well-painted piece is Lucrece come. 
 To find a face where all distress is stel'd. — Lucrece, Stanza 207. 
 Mine eye hath play'd the painter, and hath stel'd 
 Thy beauty's form in table of my heart. — Sonnet 24. 
 " Stel'd" is 'delineated.' 
 He uses a technicalit}' of inlaying: — 
 
 As venerable Nestor, hatched in silver. — Tr. &• Cr., i. 3. 
 To "hatch in silver" was the term for inlaying the fine silver hair- 
 like lines which formed an ornamental design upon the hilts of swords, 
 handles of daggers, and stocks of pistols ; and the lines of the graver 
 upon a plate of metal are still called 'hatchings:' French, hachi, 
 engraved. 
 
 And technicalities of cutlery : — 
 
 In few, his death (whose spirit lent a fire 
 Even to the dullest peasant in his camp) 
 Being bruited once, took fire and heat away 
 From the best temper d courage in his troops ; 
 For from his metal was his party steel'd ; 
 Which once in him abated, all the rest 
 
 Turn'd on themselves, like dull and heavy lead. — 2 H. IV., i. i. 
 " Temper'd " is brought to a proper degree of hardness ; and " abated" 
 means reduced to lower temper, or, as the workmen call it, ' let down." 
 Some of weaving and winding : — 
 
 Therefore, as you unwind her love from hira, 
 
 Lest it should ravel and be good to none. 
 
 You must provide to bottom it on me. — Tw. G.ofV., iii. 2. 
 
 " Ravel " here means ' become entangled ' ; and " bottom " is a 
 term used by seamstresses for that on which silk or thread is wound. 
 
 I fear not Goliath with a weaver's beam; because I know also life is a shuttle. — 
 Merry W., v. i. 
 
 The " beam" is a cylindrical piece of wood belonging to the loom 
 on which the web is gradually rolled as it is woven ; and a " shuttle " 
 is the implement with which the weaver shoots the cross threads. 
 
 O Fates, come, come, cut thread and thrum. — Mid. N. D., v. i. 
 The " thrum " is the end of a weaver's warp. 
 
 Beat me to death %vith a bottom of brown thread. — Tarn, of S., iv. 3. 
 
 And must I ravel out my weav'd-up follies ? — R. II., iv. i. 
 To " ravel out " is to ' unweave ' or ' unknit.' 
 
 Thou idle immaterial skein oi sleave-silk.— Tr. &> Cr., v. i. 
 " Sleave-silk " is ' raw silk,' ' unwrought silk.' 
 
 If I should pay you for 't as 'tis extoll'd. 
 
 It would unclew me quite. — Timon, i. i. 
 
TECHNICALITIES. 745 
 
 To " unclew " is to ' unwind,' ' undo.' 
 
 Sleep that knits up the ravell'd sleave of care. — Macb., ii. 2. 
 Make you to ravel all this matter out. — Hamlet, iii. 4. 
 Be 't when she weav'd the sleided silk. — Per., iv. (Gower). 
 
 This means ' unwrought silk,' prepared for weaving by passing it 
 through the weaver's sley or reed-comb. 
 Some of heraldry : — 
 
 They may give the dozen white luces in their coat. — 
 It is an old coat. ... I may quarter, coz ? — 
 You may, by marrying. — Merry W., i. i. 
 
 "Coat" means 'coat of arms'; and " quarter " means bear as an 
 appendage to the hereditary arms. 
 
 Ford's a knave, and I will aggravate his style; thou. Master Brook, shalt know him 
 for knave and cuckold. — Ibid., ii. 2. 
 
 " Style" is a term of the herald's office for special appellation and 
 titles. 
 
 Each fair instalment, coat, and several crest, 
 With loyal blazon, evermore be blest ! — Ibid., v. 5. 
 
 " Blazon " is here used for heraldic denotement. 
 
 If he have wit enough to keep himself warm, let him bear it for a difference between 
 himself and his horse. — M. Ado, i. i. 
 
 " A difference " is a heraldic term for ' a distinction.' 
 
 I think your blazon to be true. — Ibid., ii. i. 
 " Blazon " is here used in its sense of the art of explaining coats of 
 arms and heraldic colours. 
 
 So we grew together. 
 
 Like to a double cherry, seeming parted ; 
 
 But yet a union in partition, 
 
 Two lovely berries moulded on one stem ; 
 
 So, with two seeming bodies, but one heart ; 
 
 Two of the first, like coats in heraldry. 
 
 Due but to one, and crowned with one crest. — Mid. N. D., iii. ::. 
 
 This passage refers to a heraldic technicality ; the speaker meaning 
 that their two bodies having but one heart between them, are like the 
 coats of arms of a married couple, which are emblazoned as two, yet 
 are surmounted but by one crest. 
 
 I swear I '11 cuff you, if you strike again. — 
 
 So may you lose your arms : 
 
 If you strike me, you are no gentleman ; 
 
 And if no gentleman, why then no arms. — 
 
 A herald, Kate ? Oh, put me in thy books ! — 
 
 What is your crest ? a coxcomb ? — Tarn, of S., ii. i. 
 
 From mine own windows torn my household coat, 
 
 Raz'd out my impress, leaving me no sign, 
 
 Save men's opinions and my living blood. 
 
 To show the world I am a gentleman. — R. II., iii. i. 
 
 The family coat of arms was frequently blazoned on the stained glass 
 forming the window-panes of old mansions. The "impress" is the 
 heraldic motto or device, belonging to the coat of arms ; formerly spelt 
 ' imprese,' as derived from the Italian impresa, ' motto.' 
 
 With man's blood paint the ground, gules, gules. — Timon, iv. 3. 
 
746 THE SHAKESPEARE KEY. 
 
 This is the term, in heraldic nomenclature, for ' red.' 
 
 The rugged Pyrrhus, — he whose sable arms, 
 
 Black as his purpose . . . 
 
 Hath now this dread and black complexion smear'd 
 
 With heraldry more dismal ; head to foot 
 
 Now is he loidX gules : horridly trick'd 
 
 With blood of fathers, mothers, daughters, sons. — Hamlet, ii. 2. 
 He uses some collegiate and scholastic technicalities : — 
 
 Yes, for a score of kingdoms you should wrangle, 
 
 And I would call it fair play. — Temp., v. i. 
 
 " Wrangle " is here used partly in its sense as a technical expression 
 at the game of tennis \See the word " wrangler," previously explained, 
 under the present heading], and partly in its sense as a term in logic, 
 for ' dispute,' ' altercate.' 
 
 What maintenance he from his friends receives. 
 
 Like exhibition thou shalt have from me. — Two G. of V., i. 3. 
 
 The term " exhibition '' is still used in the universities for a stipend. 
 Rightly reasoned, and in his own division. — M. Ado, v. i. 
 
 This was a term for the parts or sections into which an oration is 
 divided. 
 
 It is the vrittiest partition that ever I heard discourse, my lord. — Mid. N. D., v. i. 
 
 " Partition " and " partition wall " are terms employed by Hooker 
 and other controversialists somewhat in the same sense that ' sect ' is 
 now used. 
 
 Of all the learned and authentic fellows. — All's W., ii. 3. 
 This was an epithet applied to a physician regularly educated and 
 licensed to practise ; the Latin phrase in the diploma of a licentiate 
 being still authentice Ucentiatus. 
 
 So far exceed all instance, all discourse, 
 
 That I am ready to distrust mine eyes. 
 
 And wrangle with my reason, that persuades me 
 
 To any other trust but that I am mad. — Tw. N., iv. 3. 
 
 " Discourse" was a scholarly term for ' ratiocination.' 
 
 I deny your major. — i H. IV., ii. 4. 
 A " major premiss " is a term in logic signifying the first proposition 
 of a syllogism. 
 
 And learning, a mere hoard of gold kept by a devil, till sack commences it, and sets 
 it in act and use. — 2 H. IV., iv. 3. 
 
 To " commence" is a collegiate term for 'take an academic degree' ; 
 and " act " is the term used at both universities for the exercise or 
 ceremony observed when taking a degree. 
 
 Subscrib'd his power ! confin'd to exhibition ! — Lear, i. 2. 
 To bandy hasty words, to scant my sizes. — Ibid., ii. 4. 
 This expression means ' allotted portions of food,' ' allowances of 
 provision ' ; and the term ' sizar ' is still used at Cambridge for that 
 class of students who live there on a stated allowance. 
 
 Let 's have one other gaudy night. — Ant. &• C, iii. 11. 
 In the colleges of both universities, ' gaudy days ' is the term used 
 for feast days : Latin, gaudium, joy, mirth, rejoicing. 
 Hir'd with that seli-cxhibition 
 Which your own coffers yield ! — Cym., i. 7. 
 
TECHNICALITIES. 747 
 
 He uses several legal technicalities [See Legal Phrases] ; and one 
 of land-buying : — 
 
 These wise men, that give fools money, get themselves a good report after fourteen 
 years' purchase. — Tiw. iV., iv. i. 
 
 " After " is here used in the sense of ' according to the rate of ; and 
 as it seems that when Shakespeare wrote, twelve years' purchase was 
 about the current price of land, the phrase in the text implies an exor- 
 bitant price. 
 
 He uses one mining technicality : — 
 
 Art thou there, true-penny ? — Hamlet, i. 5. 
 
 This is a term used by miners for a particular indication in the soil 
 of the direction in which ore may be found. 
 
 A few millers' and bakers' technicalities : — 
 
 I bought you a dozen of shirts to your back. — 
 
 Dowlas, filthy dowlas : I have given them away to bakers' wives, and they have 
 made bolters of them. — i H. IV., iii. 3. 
 
 " Bolters " are sieves ; used for sifting or bolting meal. 
 
 He that will have a cake out of the wheat must tarry the grinding. — Have I not 
 tarried? — Ay, the grinding; but you must tarry the bolting. — Have I not tarried? — 
 Ay, the bolting ; but you must tarry the leavening. — Still have I tarried. — Ay, to the 
 leavening : but here 's yet in the word " hereafter," the kneading, the making of the 
 cake, the heating of the oven, and the baking. — Tr. &■ Cr., i. i. 
 
 And take thou my oblation, poor but free. 
 
 Which is not mix'd with seconds. — Sonnet 125. 
 
 This is the term for the second kind of flour, which is collected after 
 the smaller bran is sifted. 
 
 He uses an agricultural technicality, employed when he wrote, as 
 the word ' lay ' is now : — 
 
 We '11 make foul weather with despised tears ; 
 Our sighs and they shall lodge the summer corn. — R. II., iii. 3. 
 Like to the summer's corn by tempest lodg'd. — 2 H. VI,, iii. 2. 
 Though bladed corn be lodg'd, and trees blown down. — Macb., iv. i. 
 And a few technicalities of natural history : — 
 
 My doe with the black scut. — Merry W., v. 5. 
 This term was given to the tail of those animals whose tails are very 
 short, such as of a hare, a deer, &c. 
 
 As the coney, that you see dwell where she is kindled. — As You L., iii. 2. 
 This means ' brought forth," ' born.' 
 
 As that ungentle gull, the cuckoo's bird. — i H. IV., v. i. 
 This was a term for an unfledged nestling, a callow bird. 
 So many days my ewes have been with young: 
 So many weeks ere the poor fools will yean. — 3 H. VI., ii. 5. 
 
 This means ' bring forth young.' 
 
 Lord Timon will be left a naked gull. — Timon, ii. i. 
 This, as well as " gull," was a technical term for a callow or 
 unfledged bird. 
 
 There 's something in his soul. 
 O'er which his melancholy sits on brood ; 
 And, I do doubt, the hatch and the disclose 
 Will be some danger. — Hamlet, iii. i. 
 
748 THE SHAKESPEARE KEY. 
 
 This was the term applied to the first coming of birds from the 
 shell. 
 
 Anon, as patient as the female dove, 
 When that her golden couplets are disclos'd, 
 His silence will sit drooping. — Hamlet, v. i. 
 
 A few technicalities of astrology : — 
 
 Were we not born under Taurus ? — 
 Taurus I That 's sides and heart. — 
 No, sir; it is legs and thighs. — Tw. N., i. 3. 
 
 To be " born under Taurus," the Bull, which is the second constel- 
 lation in the Zodiac, is supposed by the speaker to imply a tendency to 
 joviality and revelry. The expressions " sides and hearts," " legs and 
 thighs," refer to the system that associated particular portions of the 
 human body with the predominance of particular constellations ; 
 evidences of which system used to appear in almanacs of former 
 date. 
 
 Saturn and Venus this year in conjunction! What says the almanack to that? — And, 
 look, whether the fiery Trigon, his man, be not lisping to his master's old tables. — 
 2 H. IV., ii. 4. 
 
 The " conjunction" alluded to is stated by astrological works to have 
 been never known to occur ; and " the fiery Trigon " is a term applied 
 by astrologers to the meeting of Aries, Leo, and Sagittarius. 
 
 And technicalities of palmistry and chiromancy : — 
 
 Well, if any man in Italy have a fairer table which doth offer to swear upon a book, — 
 I shall have good fortune ! go to, here 's a simple line of life ! here 's a small trifle of 
 wives! — Mer. of V., ii. 2. 
 
 " Table" was the term for the palm of the hand ; and " the line of 
 life " meant the curved line proceeding downwards, inside the hand, 
 from the thumb towards the wrist. 
 
 He uses some technical terms of state formulas : — 
 
 I '11 give him my commission 
 To let him there a month behind the gest 
 Prefix'd for 's parting. — W. T., i. 2. 
 
 This was the name given to the scroll containing the several stages, 
 or resting-places, in a king's progress ; from the old French, giste, 
 a place to lie or lodge at. 
 
 Nothing but to show you how a king may go a progress through the guts of a beggar. 
 — Hamlet, iv. 3. 
 
 If that his majesty would aught with us, 
 
 We shall express our duty in his eye. — Ibid., iv. 4. 
 
 This was a term used in -state formulas for ' in his presence.' 
 And he uses some technicalities of ecclesiastical service: — 
 
 Look, how the floor of heaven 
 Is thick inlaid with/aiincs of bright gold. — Her. of V., v. i. 
 
 A " patine " (from the Latin, patina) is the small plate of gold used 
 with the chalice in the administration of the Eucharist. 
 
 For he hath stolen a pax, and hanged must 'a be. — H. V., iii. 6. 
 
 This was a small plate, sometimes made of precious metal, bearing 
 a sacred image upon it, and presented to the congregation during the 
 
TERMS OF DEFIANCE OR CHALLENGE. 749 
 
 celebration of mass, for them to bestow upon it ' the kiss of peace ' : 
 Latin, pax, peace. 
 
 Cut off even in the blossoms of my sin, 
 Unkousel'd, disappointed, unaneVd. — Hamlet, i. 5. 
 
 The former of these terms signifies ' without having received the 
 sacrament' ; the latter, 'without extreme unction.' 
 
 [See Elliptically Used Words for names formed from technical 
 implements.] 
 
 TERMS OF DEFIANCE OR CHALLENGE. 
 
 There are several passages in Shakespeare's plays that refer to the 
 practice among combatants of daring each other to some wild and 
 lonely place, out of the reach of help or interference, and these passages 
 aid in confirming the propriety of retaining a word in one passage 
 which has been suspected of error : — 
 
 This is true that I say: an I had thee in place where [thou and I could fight 
 uninterruptedly] thou shouldst know it. — Tarn, of S., iv. 3. 
 I do defy him, and I spit at him ; 
 Call him a sland'rous coward and a villain : 
 Which to maintain, I would allow him odds ; 
 And meet him, were I tied to run a-foot 
 Even to the frozen ridges of the Alps, 
 Or any other ground inhabitable,* 
 Wherever Englishman durst set his foot. — R. II., i. i. 
 If I dare eat, or drink, or breathe, or live, 
 I dare meet Surrey in a wilderness. — Ibid., iv. i. 
 
 Or be alive again. 
 And dare me to the desert with thy sword. 
 If trembling I inhabit then, protest me 
 The baby of a girl. — Macb., iii. 4. 
 
 This is the passage which has been supposed incorrect by some 
 commentators ; who have proposed to alter the words " inhabit then." 
 But we think they are precisely in Shakespeare's style, as forming 
 direct antithesis with " dare me to the desert." He elsewhere 
 employs "inhabit" as an intransitive verb, to express 'remain,' 
 'dwell'; and here the sense is, 'remain within doors,' 'stay in any 
 habitation or inhabited place when thou challengest me forth.' 
 If I had thee in Lipsbury pinfold, I would make thee care for me. — Lear, ii. 2. 
 
 Goose, if I had you upon Sarum plain, 
 
 I 'd drive ye cackling home to Camelot. — Ibid., ii. 2. 
 
 I would they were in Afiric both together ; 
 
 Myself by with a needle, that I might prick 
 
 The goer-back. — Cym., i. 2. 
 
 * Here used for 'not habitable,' 'unhabitable,' or ' uninhabitable ' : Latin, inhabitabilis. 
 
750 THE SHAKESPEARE KEY. 
 
 THINGS IMPERSONATED. 
 
 With very spirited effect, Shakespeare occasionally impersonates 
 objects, treating them as if they were living and acting creatures : — 
 
 Arm, wenches, arm ! encounters mounted are 
 Against your peace. — Love's L. L., v. 2. 
 
 I have seen 
 A medicine that 's able to breathe hfe into a stone. 
 Quicken a rock, and make you dance canary. — All's W., ii. I. 
 Bring in the admiration. — Ibid., ii. i. 
 
 A thousand knees 
 Ten thousand years together, naked, fasting. 
 Upon a barren mountain. — W. T., iii. 2. 
 I have eyes under my service which look upon his removedness ; from whom I have 
 this intelligence. — Ibid., iv. i. 
 
 Whom he loves 
 (He bade me say so) more than all the sceptres 
 And those that bear them, living. — Ibid., v. i. 
 But for my hand, as unattempted yet, 
 Like a poor beggar, raileth on the rich. — John, ii. 2. 
 He should have his uncle Gaunt a father, 
 To rouse his wrongs, and chase them to the bay. — R. II., ii. 3. 
 Then murders, treasons, and detested sins. 
 The cloak of night being pluck'd from off their backs. 
 Stand bare and naked, trembling at themselves. — Ibid., iii. 2. 
 No more the thirsty entrance of this soil 
 Shall daub her lips with her own children's blood ; 
 No more shall trenching war channel her fields. 
 Nor bruise her flowerets with the armed hoofs 
 Of hostile paces : those opposed eyes . . . 
 Shall now, in mutual well-beseeming ranks, 
 March all one way, and be no more oppos'd 
 Against acquaintance, kindred, and allies. — i H. IV., i. i. 
 Shall we buy treason ? and indent with /cars. 
 When they have lost and forfeited themselves ? — Ibid., i. 3. 
 Why doth the crown lie there upon his pillow. 
 Being so troublesome a bedfellow ? 
 
 polish"d perturbation ! golden care ! 
 That keep'st the ports of slumber open wide 
 To many a watchful night ! . . . 
 
 . . . O majesty ! 
 When thou dost pinch thy bearer, thou dost sit 
 Like a rich armour worn in heat of day, 
 That scalds with safety. — 2 H. IV., iv. 4. 
 AH these bold /«nrs. 
 Thou seest, with peril I have answer'd. — Ibid., iv. 4. 
 Murder, indeed, that bloody sin, I tortur'd 
 Above the felon, or what trespass else. — 2 H. VI., iii. i. 
 No bending knee will call thee Caasar now. — 3 H. VI., iii. i. 
 The drum [See Elliptically Used Words for other similar instances] your honour 
 hears marcheth from Warwick. — Ibid., v. i. 
 
 I had rather be a tick in a sheep, than such a valiant ignorance. — Tr. &• Cr., iii. 3. 
 
 1 have some wounds upon me, and they smart 
 To hear themselves remember'd. — Coriol., i. 9. 
 
 Stalls, bulks, windows. 
 Are smother'd up, leads fill'd, and ridges hors'd 
 
THINGS IMPERSONATED. 751 
 
 With variable complexions ; all agreeing 
 In earnestness to see him. — CorioL, ii. i. 
 
 So shall my lungs 
 Coin words till their decay against ihose'meazels. 
 Which we disdain should tetter us, yet sought 
 The very way to catch them. — Ibid,, iii. i. 
 Lest you should chance to whip your information. — Ibid., iv. 6. 
 
 You that stood so much 
 Upon the voice oi occupation. — Ibid., iv. 6. 
 You have made fair hands, 
 You and your crafts I you have crafted fair ! — Ibid., iv. 6. 
 My wife comes foremost ; then the honour'd mould 
 Wherein this trunk was fram'd, and in her hand 
 The grand-child to her h\ooi\~Ibid., v. 3. 
 Now old desire doth in his death-bed lie. 
 
 And young affection gapes to be his heir. — R. &• jful., i. 5 (Chorus). 
 Romeo! humours J madman! passion! lover! — Ibid., ii. i. 
 Two of the fairest stars in all the heaven, 
 Having some business, do entreat her eyes 
 To twinkle in their spheres till they return. — Ibid., ii. 2. 
 For naught so vile that on the earth doth live, 
 But to the earth' some special good doth give. — Ibid., ii. 3. 
 
 As if that name 
 Shot from the deadly level of a gun, 
 Did murder her ; as that name's cursed hand 
 Murder'd her kinsman. Oh, tell me, friar, tell me, 
 In what vile part of this anatomy 
 Doth my name lodge ? — Ibid., iii. 3. 
 
 The base o' the mount 
 Is rank'd with all deserts, all kind of natures. 
 That labour on the bosom of this sphere 
 To propagate their states. — Timon, i. i. 
 So noble a master fall'n ! All gone ! and not 
 One friend to take his fortune by the arm, 
 And go along with him ! — Ibid., iv. 2. 
 His coward lips did from their colour fly. — yul. C, i. 2. 
 
 Danger knows full well 
 That Caesar is more dangerous than he. — Ibid., ii. 2. 
 Came missives from the king, who all-hailed me, " Thane of Cawdor.' — 
 Macb., i. 5 (Letter). 
 
 What are these /a«i .' — Ibid., iv. 2. 
 
 Great tyranny, lay thou thy basis sure, 
 
 For goodness dare not check thee ! wear thou thy wrongs. 
 
 The title is affeer'd ! — Ibid., iv. 3. 
 
 Unspeak mine own detraction : here abjure 
 
 The taints and blames I laid upon myself, 
 
 For strangers to my nature. — Ibid., iv. 3. 
 
 Meet we the medicine of the sickly weal ; 
 
 And with him pour we, in our country's purge, 
 
 Each drop of us.- — Ibid., v. 2. 
 
 Whiles I see lives, the gashes 
 Do better upon them. — Ibid., v. 7. 
 To reason most absurd ; whose common theme 
 Is death of fathers, and who still hath cried, 
 From the first corse till he that died to-day, 
 " This must be so." — Hamlet, i. 2. 
 
 * Here used for the ' inhabitants of earth,' ' human beings.' 
 
752 THE SHAKESPEARE KEY. 
 
 The very place puts toys of desperation, 
 
 Without more motive, into every brain 
 
 That looks so many fathoms to the sea. 
 
 And hears it roar beneath. — Hamlet, i. 4. 
 
 For we will fetters put uponthisfear, 
 
 Which now goes too free-footed. — Ibid., iii. 3. 
 
 For in the fatness of these pursy times, 
 
 Virtue itself of vice must pardon beg, 
 
 Yea, curb and woo for leave to do him good. — Ibid., iii. 4. 
 
 Which are to France the spies and speculations 
 
 Intelligent of our state. — Lear, iii. i. 
 
 Hide thee, thou bloody hand. — Ibid., iii. 2. 
 
 While I to this hard house 
 (More hard than is the stone whereof 'tis rais'd ; 
 Which even but now, demanding after you, 
 Denied me to come in) return, and force 
 Their scanted courtesy. — Ibid., iii. 2. 
 
 To be tender-minded 
 Does not become a sword. — Ibid., v. 3. 
 What comfort to this great decay may come 
 Shall be applied : for us, we will resign. 
 During the life of this old majesty. 
 To him our absolute power. — Ibid., v. 3. 
 This grief is crowned with consolation ; your old smock brings forth a new petticoat : 
 and, indeed, the tears live in an onion that should water this sorrow. — Ant. &• C, i. 2. 
 
 His speech sticks in my heart. — 
 Mine ear must pluck it thence. — Ibid., i. 5. 
 And have my learning from some true reports 
 That drew their swords with you. — Ibid., ii. 2. 
 Did gibe my missive out of audience. — Ibid., ii. 2. 
 
 From the barge 
 A strange invisible perfume hits the sense 
 Of the adjacent wharfs. The city cast 
 Her people out upon her ; and Antony, 
 Enthron'd i' the market-place, did sit alone. 
 Whistling to the air ; which, but for vacancy. 
 Had gone to gaze on Cleopatra too. 
 And made a gap in nature. — Ibid., ii. 2. 
 If our eyes had authority, here they might take two thieves kissing. — Ibid., ii. 6. 
 A lower place, note well. 
 May make too great an act. — Ibid., iii. i. 
 The Kings of Mede, and Lycaonia, 
 With a more larger list of sceptres. — Ibid., iii. 6. 
 
 In his livery 
 Walk'd crowns and crownets. — Ibid., v. 2. 
 What shall I need to draw my sword ; the paper 
 Hath cut her throat already. No, 'tis slander ; 
 Whose edge is sharper than the sword : whose tongue 
 Outvenoms all the worms of Nile ; whose breath 
 Rides on the posting winds, and doth belie 
 All corners of the world : kings, queens, and states. 
 Maids, matrons, nay, the secrets of the grave 
 This viperous slander enters. — Cym., iii. 4. 
 Whose naked breast 
 Stepp'd before targes of proof. — Ibid., v. 5. 
 These mouths, whom but of late, earth, sea, and air, 
 Were all too little to content and please. 
 
THINGS IMPERSONATED. 753 
 
 Although they gave their creatures in abundance-. 
 
 As houses are defil'd for want of use, 
 
 They are now starv'd for want of exercise : 
 
 Those palates, who, not yet two summers younger, 
 
 Must have inventions to delight the taste. 
 
 Would now be glad of bread, and beg for it. — Per., i. 4. 
 
 O let those cities, that of plenty's cup 
 
 And her prosperities so largely taste, 
 
 With their superfluous riots, hear these tears ! — Ibid'., i. 4. 
 
 Shakespeare uses several bold and peculiar sentences of figurative 
 and metaphorical phraseology ; a few of which he has repeated with 
 slight variations in the wording : — 
 
 Oh, thou that dost inhabit in ray breast, 
 
 Leave not the mansion so long tenantless, 
 
 Lest, growing ruinous, the building fall. 
 
 And leave no memory of what it was ! — Tw.. G.ef V-, v. 4. 
 
 Shall love, in building, grow so ruinous ? — Com. of E., iii. 2 
 
 But the strong base and building of my love 
 
 Is as the very centre of the earth, 
 
 Drawing all things to it. — Tr. &• Cr., iv.. 2. 
 
 Who might be your mother, 
 
 That you insult, exult, and all at once. 
 
 Over the wretched ? — As You L., iii. 5. 
 
 Some jay of Italy, 
 Whose mother was her fainting, hath betray'd him. — Cym., iii. 4. 
 
 These two passages seem to us to contain some scoff understood 
 when Shakespeare wrote, implied in reference to a would-be beauty's 
 "mother"; and the latter of the two passages has the same kind of 
 figurative mode of saying, ' the producer of whose beauty was her rouged 
 face,' or 'whose sole origin of comeliness was her painted complexion,' 
 as the following three passages have of asserting a man to be ' made by 
 his attire : ' according to the old proverbial axiom, ' Fine feathers make 
 fine birds ' : — 
 
 Know'st me not by my clothes ? — 
 
 No, nor thy tailor, rascal, 
 Who is thy grandfather ■ he made those clothes. 
 Which, as it seems, make thee. — Ibid., iv. 2. 
 You cowardly rascal, nature disclaims in thee : a tailor made thee. — Lear, ii. 2. 
 The soul of this man is his clothes. — AlVs W., ii. 5. 
 
 In another passage of the same play Shakespeare has reversed this 
 figurative expression with much humour, to express men of no more 
 understanding than will serve them to invent new styles of dress : — 
 Whose judgments are mere fathers of their garments. — Ibid., i. 2. 
 
 His honour, 
 Clock to itself, knew the true minute when 
 Exception bid him speak, and at this time 
 His tongue obey'd his hand. — Ibid., i. 2. 
 But what linsey-woolsey hast thou to speak to us again ! — Ibid., iv. i. 
 I am in love ; but a team of horse shall not pluck that from me ; nor who 'tis I love. 
 — Two G. of v., iii. i. 
 Though our silence be drawn from us with cars, yet peace. — Tw. N., ii. 5. 
 I think oxen and wain-ropes cannot hale them together. — Ibid., iii. 2. 
 I am yet so near the manners of my mother, that, upon the least occasion more, mine 
 eyes will tell tales of me. — Ibid., ii. i. 
 
 3 c 
 
75+ THE SHAKESPEARE KEY. 
 
 And all my mother came into mine eyes. 
 
 And gave me up to tears. — H. V., iv. 6. 
 
 Unthread the rude eye of rebellion, 
 
 And welcome home again discarded faith. — yohn, v. 4. 
 
 Thus out of season, threading dark-ey'd night. — Lear, ii. i. 
 
 Will you again unknit 
 This churlish knot of all-abhorred war ? — i H. IV., v. i. 
 And these same thoughts people this little world. — R. II., v. 5. 
 Strives in his little world of man to out-scorn. — Lear, iii. i. 
 To face the garment of rebellion 
 With some fine colour, that may please the eye 
 Of fickle changelings and poor discontents. — i H. IV.. v. i. 
 To rank our chosen truth with such a show 
 As fool and fight is. — H. VIII. (Prologue). 
 They must either 
 (For so run the conditions) leave those remnants 
 Oi fool and feather, that they got in France. — Ibid., i. 3. 
 
 It appears to us that, in the one instance, Shakespeare used " fool and 
 fight " to express ' buffoons and mock battles ' or ' buffoonery and 
 battling' ; and, in the other, "fool and feather" to express 'folly and 
 levity' or ' foppery and frippery.' 
 
 A beggar's book outworths a noble's blood. — Ibid., i. i. 
 Honour's train is longer than his foreskirt. — Ibid., ii. 3. 
 
 That his bones. 
 When he has run his course and sleeps in blessings, 
 May have a tomb of orphans' tears wept on them. — Ibid., iii. 2. 
 Still in thy right hand carry gentle peace. 
 To silence envious tongues. — Ibid., iii. 2. 
 Here is the steed, we the caparison. — Coriol., i. g. 
 Is 't possible that so short a time can alter the condition of a man ? — 
 There is differency between a grub and a butterfly ; yet your butterfly was a grub. 
 This Marcius is grown from man to dragon : he has wings ; he 's more than a creeping 
 thing. — Ibid., v. 4. 
 
 Therefore this project 
 Should have a back or second, that might hold. 
 If this should blast in proof. — Hamlet, iv. 7. 
 How shall your houseless heads and unfed sides. 
 Your loop'd and window'd raggedness, defend you 
 From seasons such as these ? — Lear, iii. 4. 
 Might I but live to see thee in my touch, 
 I 'd say I had eyes again 1 — Ibid., iv. i. 
 I see it feelingly. — Ibid., iv. 6. 
 
 They flattered me like a dog ; and told me I had white hairs in my beard ere the 
 black ones were there. — Ibid., iv. 6. 
 
 When we shall hear 
 The rain and wind beat dark December. — Cym., iii. 3. 
 Thus smiling, as some fly had tickled slumber. 
 Not as death's dart, being laugh'd at. — Ibid., iv. 2. 
 
 He also uses some poetical licences of expression that trouble and 
 perplex the literal and conventional critics ; but which delight the 
 appreciators of such audacities in imaginative and unprosaic composi- 
 tion : — 
 
 When service should in my old limbs lie lame. 
 
 And unregarded age in comers thrown. — As You L., ii. 3. 
 
TITLES. 755 
 
 Join with the present sickness that I have ; 
 
 And thy unkindness be like crooked age. 
 
 To crop at once a too-long wither d flower. — R. II., ii. i. 
 
 Famine is in thy cheeks, 
 Need and oppression starveth in thine eyes. 
 Contempt and beggary hang upon thy back. — R. &• jful., v. i. 
 When all our offices have been oppress'd 
 With riotous feeders ; when our vaults have wept 
 With drunken spilth of wine ; when every room 
 Hath blaz'd with lights, and bray'd with minstrelsy. — Timon, ii. 2. 
 
 Leak'd is our barque ; 
 And we, poor mates, stand on the dying deck. 
 Hearing the surges threat : we must all part 
 Into this sea of air. — Ibid., iv. 2. 
 A mote it is to trouble the mind's eye. — Hamlet, i. i. 
 
 Methinks I see my father. — 
 O where, my lord? — 
 
 In my mind's eye, Horatio. — Ibid., i. 2. 
 And am fall'n out with my more headier will. 
 To take the indisposed and sickly fit 
 For the sound man. — Lear, ii. 4. 
 
 I '11 look no more ; 
 Lest my brain turn, and the deficient 
 Sight topple down headlong.— Ibid., iv. 6. 
 
 TITLES. 
 
 Shakespeare occasionally uses the names of their countries as titles 
 for sovereigns : — 
 
 The King of Sicilia means to pay Bohemia the visitation which he justly owes him. 
 —W. T., i. I. 
 
 No jocund health that Denmark drinks to-day. — Hamlet, i. 2. • 
 
 Then bid adieu to me, and say the tears 
 
 Belong to Egypt. — Ant. &• C, i. 3. 
 O, whither hast thou led me, Egypt ? . . . Egypt, thou knew'st tco well, my heart 
 was to thy rudder tied. — Ibid., iii. g. 
 
 What England says, say briefly, gentle lord. — fohn, ii. i. 
 
 And here, from gracious England, have I offer 
 
 Of goodly thousands . . . gracious £ng-tend hath 
 
 Lent us good Siward and ten thousand men. — Macb., iv. 3. 
 Now say, Chatillon, what would France with us ? — John, i. i. 
 Call France ; who stirs ? Call Burgundy. — Lear, i. i. 
 Myself present as I was sometime Milan. — Temp., v. i. 
 
 Was Milan thrust from Milan, that his issue 
 
 Should become kings of Naples ? — Ibid., v. i. 
 Pause there, Morocco, and weigh thy value. — Mer. of V., ii. 7. 
 Myself am Naples ; who, with mine eyes. — Temp., i. 2. 
 When he th' ambitious Norway combated. — Hamlet, i. i. 
 What from our brother Norway ? — Ibid., ii. 2. 
 Sicilia cannot show himself over-kind to Bohemia. — W. T., i. i. 
 What means Sicilia? — He something seems unsettled.— /ii(i., i. 2. 
 Bold lachimo, Sienna's brother. — Cym., iv. 2. 
 
 3 C 2 
 
756 THE SHAKESPEARE KEY. 
 
 He has used several foreign titles : — 
 
 Fetch you a hair off the great Cham's beard. — M. Ado, ii. i. 
 
 But our count-cardinal has done this. — H. VIII., i. i. 
 
 Look upon the years of Lewis the Dauphin. — jfohn, ii. 2. 
 
 Thou 'rt an emperor, Caesar, Keisar, and Pheezar. — Merry W., i. 3. 
 
 Two faults, madonna, that drink and good counsel. — Tw. N., i. 5. 
 
 The magnijico is much belov'd. — Oih., i. 2. 
 
 The duke himself, and the magnificoes of greatest. — Mer. of V., iii. 2. 
 
 But what is the sport, monsieur, that the.— ^s You L., i. 2. 
 
 Bring you the length of Presier John's foot. — M. Ado, ii. i. 
 
 Now, signior, where 's the count ? — Ibid., ii. i. 
 
 That slew the Sophy, and a Persian prince 
 
 That won three fields oi Sultan Solyman. — Mer. of V., ii. i. 
 
 A pension of thousands to be paid from the Sophy. — Tw. N., ii. 5. 
 
 They say he has been fencer to the Sophy. — Ibid., iii. 4. 
 
 He sometimes uses "grace" to a royal personage as well as to a 
 duke or duchess : — 
 Your grace [to a queen] shall stay behind. — John, iii. 3. 
 How brooks your grace [to a king] the air. — R. II., iii. 2. 
 That called yonv grace [to a duchess] to breakfast. — R. III., iv. 4. 
 Begg'd yoMT grace's [to a duke] pardon. — R. II., i. i. 
 He sometimes applies ' duke,' ' peer,' or ' prince,' to a king : — 
 That are vow-fellows with this virtuous duke. — Love's L. L., ii. i. 
 Gonzago is the duke's name. — Hamlet, iii. 2. 
 King Stephen was a worthy peer. — 0th., ii. 3 {Song). 
 Yonng prince of Tyre, you have at large receiv'd. — Per., i. i. 
 
 In the following passage, " duke " is used for ' commander ' : Latin, 
 dux, a leader : — 
 
 Be merciful, great duke . . . abate thy rage, great duke ! — H. V., iii. 2. 
 In the following the princess is addressed as " your majesty," to 
 'mark that she has become queen by her father's death : — 
 How fares your majesty ? — Love's L. L., v. 2. 
 
 In the following, Cleopatra is alluded to by a peculiar title that was 
 appropriate, her father and her brother having both been called Ptolemy, 
 which was the name borne by a long line of Egyptian kings : — 
 
 Is not more manlike 
 Than Cleopatra ; nor the queen of Ptolemy 
 Mere womanly than he. — Ant. &• C, i. 4. 
 
 Shakespeare occasionally uses " princes " for ' noblemen,' or ' mag- 
 nates ' : — 
 
 With other princes that may best be spar'd . . . 
 
 Now these, her princes, are come home again. — jfohn, v. 7. 
 
 Commend me to the princes in our camp. — H. V., iv. i. 
 
 In the following passage he uses a Welsh title, signifying ' son 
 of':— 
 
 And Rice Ap Thomas, with a valiant crew. — R. III., iv. 5. 
 
 In the following he employs a title anciently given to a noble youth 
 trained up to arms : — 
 
 Child Rowland to the dark tower came. — Lear, iii. 4 (Song). 
 
TITLES. 757 
 
 And in the following he employs a title anciently given to men 
 equivalent to ' Master ' : — 
 
 This senior-junior, giant-dwarf, Dan Cupid. — Love's L. L., iii. i. 
 
 In the following passage Shakespeare uses " the " as it was formerly 
 sometimes used in England (and as la and il are still sometimes used 
 in Italy) as a distinctive prefatory appellation for a distinguished 
 person or one of high birth : — 
 
 Such attribution should the Douglas have. — i H. IV., iv. i. 
 
 And in the following we believe him to have used "the" (as its 
 equivalent is still used in Italy) as a term of distinction for a noble 
 family \_See Spelling of Foreign Words for our farther remarks on 
 this passage] : — 
 
 The lady of the strachy married the yeoman of the wardrobe. — Tw. N., ii. 5. 
 
 Shakespeare occasionally uses certain titles — as they were formerly 
 sometimes used — rather indiscriminately applied : — 
 
 A noble duke,' in nature as in name. — Tw. N., i. 2. 
 
 The count' himself here hard by woos her. — Ibid., i. 3. 
 
 The Earl [for ' duke '] of Hereford was reputed then. — 2 H. IV., iv. 4. 
 
 Shakespeare occasionally uses " county," an old form of ' count ' ; 
 and " counties " for noblemen generally : — 
 
 Princes and counties J surely a princely testimony. — M. Ado, iv. i. 
 
 Then is there the County Palatine. — Mer. of V., i. 2. 
 
 A ring the county wears. — All's W., iii. 7. 
 
 Peevish messenger, the county's man. — Tw. N., i. 5. 
 
 Juliet, the county stays. — R. &• jful., i. 3. 
 
 Noble gentleman, the County Paris. — Ibid., iii. 4. 
 
 He occasionally uses "thane" for ' thaneship,' or 'title of thane': — 
 
 Those that gave the thane of Cawdor to me . . . the crown, besides the thane of 
 Cawdor. — Macb., i. 3. 
 
 He not unfrequently (according to a former custom) uses " your 
 honour " for ' your lordship ' : — 
 
 I crave your honour's pardon . . . Save your honour ! . . . Heaven keep your 
 honour! . . . Save your honour 1 — M. for M., ii. 2. 
 
 I hope I shall know your honour better. . . . Grace ! not so, friend ; honour and 
 lordship are my titles. — Tr. &• Cr., iii. i. 
 AH happiness to^o«r honour! — Timon, i. i. 
 
 Your honour has through Ephesus pour'd forth 
 Your charity. — Per., iii. 2. 
 
 He employs " worship," according to a former custom, for an appro- 
 priate title to a knight or a squire : — 
 
 Give your worship [to a knight] good-morrow. — Merry W., ii. 2. 
 
 He and his tooth-pick at my worship's [the speaker uses this expression as showing 
 that he has recently been created a knight] mess ; and when my knightly stomach is 
 suffic'd. — yohn, i. i. 
 
 I may not go in without ^oay worship [to a squire]. — Merry W., i. i. 
 
 Have not your worship [to a squire] a wart above your eye ? — Ibid., i. 4. 
 
 • " Duke " and " count " are both applied to Orsino ; not only in these two passages, 
 but again in the course of this play. 
 
758 THE SHAKESPEARE KEY. 
 
 He uses duplicate titles that denote official dignity : — 
 
 Got my lord chamberlain his liberty. — R. III., i. i. 
 
 Chflsen lord chancellor in your place. — H. VIII., iii. 2. 
 
 They are worn, lord consul, so, that we shall. — Coriol., iii. i. 
 
 My lord embassador, these letters are for you. — 3 H. VI., iii. 3. 
 
 Am bound to beg of my lord general. — Coriol., i. g. 
 And we create, in absence of ourself, 
 Our uncle York lord governor of England. — R. II., ii. i. 
 
 Stay, my lord legate : you shall first. — i H. VI., v. i. 
 
 Answer you so the lord protector ? — Ibid., i. 3. 
 
 He uses titles derived from the articles borne by those to whom the 
 titles are applied [See Elliptically Used Words] :— 
 
 Thou shalt be my lieutenant, monster, or my standard. — Temp., iii. 2. 
 
 He uses the title of " Doctor" in reference to learned men not of the 
 medical profession : — 
 
 Good Doctor Pinch, you are a conjuror. — Com. of E., iv. 4. 
 
 Go, Lovel, with all speed to Doctor Shaw.* — R. III., iii. 5. 
 
 He uses both forms of the following title : — 
 
 No less flowing than Marchioness-\ of Pembroke. — H. VIII., ii. 3. 
 
 Duchess of Norfolk, and lady Marquessf Dorset. — Ibid., v. 2. 
 
 He uses " Dame " as a female title : — 
 
 Dame Eleanor gives gold. . . . Dame Eleanor's aspiring humour. — 2 H. VI., i. 2. 
 
 She shall not strike Dame Eleanor unreveng'd. — Ibid., i. 3. 
 
 Stand forth. Dame Eleanor Cobham, Gloster's wife. — Ibid., ii. 3. 
 
 Where Henry and Dame Margaret kneel'd to me. — Ibid., i. 2. 
 
 Why, then. Dame Margaret was ne'er thy joy. — Ibid., iii. 2. 
 
 By thy Dame Partlet here. — W. T., ii. 3. 
 
 How now. Dame Partlet the hen ! — i H. IV., iii. 3. 
 
 Why, how now, dame ! whence grows this. — Tarn of S., ii. i. 
 
 My old dame will be undone now. — 2 H. IV., iii. 2. 
 
 Bless you, fair dame ! I am not to you known. — Macb., iv. 2. 
 
 Our veil'd dames commit the war of white and damask, in their nicely-gawded 
 cheeks. — Coriol., ii. i. 
 
 In conformity with the custom of his time, Shakespeare uses 
 " Mistress " for an unmarried as well as for a married woman : — 
 
 Mistress Ann Page ? She has brown hair. — Merry W., i. i. 
 
 Mistress Bianca, bless you with such grace. — Tam. of S., iv. 2. 
 
 Where, good Mistress Mary ? — Tw. N., i. 5. 
 
 Ah, ha ! Mistress Ford and Mistress Page. — Merry W., ii. 2. 
 
 Also, in conformity with the custom of his time, he occasionally 
 uses " Master " as a title for a grown man : — 
 
 How, now. Master Ford ! — Merry W., ii. i. 
 
 Let us see honest Master Page. — Ibid., i. i. 
 
 Good Master Fang, hold him sure ; good Master Snare, let him not 'scape. — 
 2 H. IV., ii. I. 
 
 * A popular preacher, and brother to the Lord Mayor, Edmund Shaw. 
 
 f " Marchioness " is formed by adding the Enghsh feminine termination to the 
 Latin title marchio, a marquis, one who looks to the marches or bounds of the country ; 
 while " marquess " is derived from the French marquise. 
 
TITLES. 759 
 
 In the following passage, "Master" is facetiously used with 
 " esquire" : — 
 
 There will I visit Master Robert Shallow, esquire. — 2 H. IV., iv. 2. 
 
 In accordance with a usage that prevailed when he wrote, he fre- 
 quently gives the title of " Sir " to a clergyman : — 
 
 Sir Hugh, persuade me not. — M. W., i. i. 
 
 Shakespeare uses terms of relationship with much latitude : — 
 
 Your kind aunt [for ' third cousin '], Duchess of Burgundy. — 3 H. VI., ii. 1. 
 
 Provost, my brother [in official authority] Angelo will not be alter'd. — M.forM., iii. 2. 
 
 Brother [kingj of England, how may we. — John, ii. 2. 
 
 And, brother [-in-lawj, here's the Earl of Wiltshire's. — 3 H. VI., i. i. 
 
 Thy brother's [for ' half-brother's'] blood the thirsty. — Ibid., ii. 3. 
 
 Dream on thy cousins * [nephews] smother'd in the Tower . . . 
 Thy nephews' souls bid thee despair and die ! — R. III., v. 3. 
 
 You are a brother [member of our council] of us. — H. VIII., v. i. 
 
 The sunset of my brother's [for 'brother-in-law's'] son. — R. <&■ Jul., iii. 5. 
 
 Sir, 'tis your brother [-in-law] Cassius at the door. — Jul. C, ii. i. 
 
 Back, Edmund, to my brother [-in-law]. — Lear, iv. 2. 
 
 How is't, brother [officer] ? — 0th., v. i. 
 
 To make you brothers [-in-law], and to knit. — Ant. & C, ii. 2. 
 
 Good brother [-in-law], let me request you off. — Ibid., ii. 7. 
 
 Are the brothers [-in-law] parted ? — Ibid., iii. 2. 
 
 Brother [soldier], good night: to-morrow is. — Ibid., iv. 3. 
 
 Cousins [kinsmen, relations], you know what. — M. Ado, i. 2. 
 
 How now, daughter, and cousin [niece] ! — As You L., i. 2. 
 
 Cousin [kinsman], look not sad. — John, iii. 3. 
 
 Our cousin [kinsman] Hereford and fell. — R. II., i. 2. 
 
 Cousin [nephew], farewell: no farther go. — i H. IV., i. 3. 
 
 My dear cousin [kinsman], I, as a child. — R. III., ii. 2. 
 
 Welcome, dear cousin [nephew], my thoughts' sovereign.— /iii., iii. i. 
 
 Good-morrow, cousin [niece] Cressid. . . . How do you, cousin [niece] ? — Tr. &• 
 Cr., i. 2. 
 
 Sit, good cousin [kinsman] Capulet. — R. &■ Jul., i. 5. 
 
 Forgive me, cousin [kinsman] ! — Ibid., v. 3. 
 
 Cousins [kinsmen], a word, I pray you. — Macb., i. 3. 
 
 Our bloody cousins [kinsmen] are bestow'd. — Ibid., iii. i. 
 
 Cousin [kinsman] Hamlet, you know the wager ? — Hamlet, v. 2. 
 
 And, dear coz [brother-in-law], to you the. — i H. IV., iii. i. 
 
 My dearest coz [kinswoman], I pray you, school yourself. — Macb., iv. 2. 
 
 'Tis true, fair daughter [-in-law] ; and this.— JoAn, iii. i. 
 
 No, be assur'd you shall not find me, daughter [step-daughter], after the slander ot 
 most stepmothers, evil-ey'd unto you. — Cyin., i. 2. 
 
 Whoo ! ho ! ho ! father [anticipatedly, for ' father-in-law '] Page ! — Son [antici- 
 patedly, for ' son-in-law '], how now, son I — Merry W., v. 5. 
 
 My father [anticipatedly, for ' father-in-law '] Capulet will have it so. — 
 R.eyjul., iv. I. 
 
 Cssarion, whom they call ray father's [by adoption] son. — Ant. &• C, iii. 6. 
 
 Your Ciesafs father [by adoption] oft, when he. — Ibid., iii. g. 
 
 • This passage affords an instance of " cousins" and " nephews" used in the same 
 speech, applied to the same persons, while addressing the same individual.- 
 
r6o THE SHAKESPEARE KEY. 
 
 Depos'd his nephew [cousin] Richard. — i H. VI., ii. 5. 
 You ']! have your nephews [grandchildren] neigh to you. — 0th., i. i. 
 My niece [grand-daughter] Plantagenet led in. — R. III., iv. i. 
 Get thee to Plashy, to my sister [-in-law] Gloster. — R.II., ii. 2. 
 As much to you, good sister [-in-law]. — R. III., iv. i. 
 
 Keep you our sister [-in-law] company. . . . farewell, dear sister [-in-law]. — 
 Lear, iii. 7. 
 
 Not till Monday, my dear son [anticipatedly for ' son-in-law']. — M. Ado, ii. i. 
 
 Acquaint her here of my son [anticipatedly for 'son-in-law'] Paris' love. — 
 R. &• yuL, iii. 4. 
 
 I scarce did know you, uncle [-in-law]. — 0th., v. 2. 
 
 Cassibelan, thine uncle [for ' great uncle']. — Cym., iii. i. 
 
 He sometimes introduces terms of relationship as used ecclesias- 
 tically : — 
 
 I will, as 'twere a brother of your order. — M.forM., 1. 4. 
 
 Going to find a bare-foot brother out. — R. &• Jul., v. 2. 
 
 'Tis meet so, daughter, but lest you do repent. — M.for M., ii. 3. 
 
 My leisure serves me, pensive daughter-, now. — R. S-JuL, iv. i. 
 
 To make confession to this father ? ... at leisure, holy father, now. — Ibid., iv. i. 
 
 Bless you, good father friar. — M.for M., iii. 2. 
 
 No longer staying but to give the mother 
 Notice of my affair. — Ibid., i. 5. 
 
 One Isabel, a sister, desires access to you. — Ibid., ii. 4. 
 
 Vouchsafe a word, young sister, but one word. — Ibid., iii. i. 
 
 Son, I have overheard what hath passed. — Ibid., iii. i. 
 
 Young son, it argues a distemper'd head. . . . That 's my good son. ... Be plain 
 good son. — R. &• Jul., ii. 3. 
 
 He occasionally introduces terms of relationship as used by young 
 persons in reverence to age : — 
 
 Pardon, oXA. father, my mistaking eyes. . . 
 
 Now I perceive thou art a reverend /niAcj'. . . 
 
 Do, good old grandsire, ... I do assure thee, fatjier, so it is. — Tam. of S., iv. 5. 
 
 Lord Timon, hear me speak. — Freely, good father. — Timon, i. i. 
 
 Therefore, thou happy father, think that the clearest gods. . Well pray you, 
 father. ... Sit you down, father; rest you. . . . Come, father,' I'll bestow you 
 with a friend. — Lear, iv. 6. 
 
 Shakespeare has made allusion to some of the adoptive titles of 
 relationship which were occasionally used among intimate friends at 
 the time he wrote : — 
 
 My cousin Juliet. — 
 
 Is she your cousin ? — 
 
 Adoptedly ; as school-maids change their names 
 
 By vain, though apt, affection. — M.for M., i. 5. 
 Shall I call yon father ? — Ay, my good son. — Tr. &• Cr., ii. 3. 
 He call'd me father : but what o' that ? — Coriol., v. i. 
 Love thee no worse than thy old father Menenius does. — Ibid., v. 2. 
 Timon has been this lord's father. — Timon, iii. 2. 
 
 I am a mother to you. — Mine honourable mistress. — Nay, a mother. ... I say, I am 
 your mother. . . . You are my mother, madam. — All's W., i. 3. 
 
 " Beautifully has the dramatist made Edgar avail himself in this scene of the 
 customary mode of addressing a venerable old man, in order to indulge himself with 
 giving Gloster the paternal appellation, truly his. 
 
TITLES. 761 
 
 Cannot office me from my son Coriolanus. . . . Oh, my son, my son! thou art 
 preparing fire. — CorioL, v. 2. 
 
 He uses some familiarly abbreviated forms in titles of relationship : — 
 
 I may quarter, coz ? — Merry W., i. i. 
 
 Good-morrow, coz. , . Help to dress me, good coz. — M. Ado, iii. 4. 
 
 I pray thee, Rosalind, sweet my coz, be merry. — As You L., i. 2. 
 
 No, coz, I rather weep. — R. &• Jul., i. i. 
 
 Pare thy nails, dad. — Tw. N., iv. 2 (Song). 
 
 Since I first call'd my brother's father dad. — jfokn, ii. 2. 
 
 Was wont to cheer his dad in mutinies ? — 3 H. VI., i. 4. 
 
 He introduces some familiarly applied titles of relationship : — 
 The wisest aunt, telling the saddest tale. — Mid. N. D., ii. i. 
 
 Are summer songs for me and my aunts [See Cant Terms]. — W. T., iv. 2 (Song). 
 How now, mtncle I . . . Mark it, nuncle. — Lear, i. 4. 
 
 This familiar contraction of ' mine uncle ' was the usual appellation 
 of the professional fool for his employer and his superiors. 
 Shakespeare uses some facetious titles : — 
 
 Bull Jove, sir, had an amiable low. — M. Ado, v. 4. 
 Coragio ! 6H//y-monster, coragio ! — Temp., v. i. 
 Bless thee, bully doctor. — Merry W., ii. 3. 
 
 Bully knight ! bully Sir John ! . . . Let her descend, bully. — Ihid., iv. 5. 
 What say'st thou, bully Bottom ? — Mid. N. D., iii. i. 
 I love the lovely bully. — H, V., iv. i. 
 
 Come, captain, we must be neat; not neat, but cleanly, captain. — W. T., i. 2. 
 Hear ye, captain, are you not at leisure ? — i H. VI., v. 3. 
 Cavalero justice, I say ! . . . Tell him, cavalero justice. — Merry W., ii. i. 
 Master Page, and eke Cavalero Slender. — Ibid., ii. 3. 
 But to help Cavalery Cobweb to scratch. — Mid. N. D., iv. i. 
 
 Monsieur Cobweb, good monsieur, get your weapons. . . . Where 's Monsieur 
 Mustard-seed ? — Ibid., iv. i. 
 Ha ! the prince and Monsieur Love ! — M. Ado, ii. 3. 
 
 And in the following passage he uses a playfully coined title : — 
 What her is this ?— Why, Doctor She.— All's W., ii. i. 
 
 In the following passages he uses a corrupted form of a title, and 
 jocosely corrupted names : — 
 
 Why, your dolphin [Dauphin] is not lustier. — Ibid., ii. 3. 
 Pucelle or puzzel, dolphin [Dauphin] or dog-fish. — i H. VI., i. 4. 
 Dolphin [Dauphin] my boy, my boy, sessa I — Lear, iii. 4. 
 Twopence a-piece of Yead [Ned] Miller. — Merry W., i. i. 
 Hear ye, Yedward [Edward] ; if I tarry at home. — i H. IV., i. 2. 
 
 He occasionally uses the titles derived from avocations, which were 
 customary in his time : — 
 
 Sot, didst see Dick Surgeon, sot ? — Tw. N., v. i. 
 
 Turned upside down since Robin Ostler died. — i H. IV., ii. i. 
 
 What 's to do here, Thomas Tapster ? — M. for M.,i. 2. 
 
 Yea, marry, William cook, bid him come hither. . . . But for William cook : are 
 there no young pigeons ? — z H. IV., v. i. 
 
 Twopence a-piece of Yead Miller, by these gloves. — Merry W.,'i. i. 
 
762 THE SHAKESPEARE KEY. 
 
 He has more than one allusion to the custom that prevailed formerly 
 of servants assuming their employers' names : — 
 
 Hear me call Margaret, Hero. — M. Ado, ii. 2. 
 
 I have to-night wooed Margaret, the Lady Hero's gentlewoman, 4y the name of Hero. 
 — Ibid., iii. 3. 
 
 Good even, Varro : what ! . . . and yours too, Isidore ? — Timon, ii. 2. 
 
 He has used several familiar titles : — 
 
 Goodman Verges, sir, speaks a little off the matter. — M. Ado, iii. 5. 
 Via, goodman Dull ! thou hast spoken no. — Love's L. L., v. i. 
 Since the old days oi goodman Adam to the. — i H. IV,, ii. 4. 
 I think he be, but goodman Puff of Barson. — 2 H, IV.. v. 3. 
 Did not goodwife Keech, the butcher's wife. — Ibid., ii. i. 
 What, ho, gossip Ford ! what, ho ! — Merry W., iv. 2. 
 Come in then, and call me gossip Quickly. — 2 H. IV., ii. i. 
 
 Give them their charge, neighbour Dogberry. . . . Come hither, neighbour Seacoal. 
 — il. Ado, iii. 3. 
 Come, neighbour Mugs, we'll call up the gentlemen. — i H. IV., ii. i. 
 
 He has introduced some titles of imaginary and typical personages : — 
 
 By Sir Smile, his neighbour. — W. T., i. 2. 
 
 This might be my lord such-a-one, that praised my lord such-a-one's horse . . . e'en 
 so, and now my Lady Worm's. — Hamlet, v. i. 
 
 When Signior Sooth here does proclaim. — Per., i. 2. 
 
 He sometimes appends " sir " to a title in stern address: — 
 
 Come, sir boy, come, follow me; sir boy, I'll. — M. Ado, v. i. 
 Stay, sir king : this man is better than. — Cym., v. 5. 
 
 He sometimes uses " Love " for ' the queen of love,' ' Venus ' [See 
 Peculiar Use of Words for other instances] : — 
 
 That your Dian was both herself and love.' — All's W., i. 3. 
 For the love of Love and her soft hours. — Ant. &■ C, i. i. 
 
 Sometimes, in accordance with a usage of his time, he employs 
 " lover " as a term for ' friend,' said by men to each other [See Appre- 
 ciation OF Friendship, &c.] : — 
 
 Farewell, my lord: I as your lover speak. — Tr. &■ Cr., iii. 3. 
 
 The mighty gods defend thee ! Thy lover, Artemidorus. — jful. C, ii. 3 (Letter). 
 
 Romans, countrymen, and lovers I hear me for. — Ibid., iii. 2. 
 
 That we may, lovers in peace, lead on. — Ibid., v. i. 
 
 He sometimes, also in accordance with a usage of his time, applies 
 the term " lover " to a woman as well as to a man :— 
 
 Your brother and his lover have embraced. — M.for M., i. 5. 
 Most like a noble lord in love, and one 
 That had a royal lover. — Cym., v. 5. 
 
 • In this passage the word " love " means ' love itself as well as ' the queen of love. 
 Venus.' 
 
UNFINISHED SENTENCES. 763 
 
 UNFINISHED SENTENCES. 
 
 Shakespeare, in his skill as a dramatist, knew the full value of intro- 
 ducing upon occasion an unfinished sentence : sometimes broken off 
 by the speaker's self-interruption to impl}' something left unsaid, to 
 imply an inuendo or a threat, to imply some interposed gesture or 
 action, or to imply agitation and incapacity of expression ; sometimes 
 broken off by interruption from an interlocutor, or by other speakers ; 
 sometimes interrupted by a sudden entrance ; sometimes even inter- 
 rupted by death itself, when utterance is checked by departing breath, 
 and the speaker expires leaving his sentence unended. In the Folio, 
 these unfinished sentences are generally indicated by a dash (that is, a 
 long line or a line composed of short hyphen-marks, thus ); but, 
 
 in several cases, are so imperfectly indicated (by a full stop, by a 
 comma, by no stop at all, or even by a blank space) that it is difficult 
 to decide whether an interrupted sentence is reall}' intended by the 
 dramatist, or whether the printer may not have made a blunder, and 
 even (in the last-mentioned case) have left the passage incompletel}- 
 given. However, in the majority of instances, the context of the pas- 
 sage resolves the difficulty ; and the dramatist's intention is manifest. 
 First, then, for the passages of self-interruption : — 
 
 Trinculo, keep a good tongue in your head : if you prove a mutineer, the next 
 tree — Temp., iii. 2. 
 
 It is so, indeed ; he is no less than a stuffed man : but for the stuffing, — well, we 
 are all mortal — .V/. Ado, i. i. 
 
 What ! I am not bestraught : here 's — Tarn, of S., Indue. 2. 
 
 The Folio concludes the above speech with a line or dash ; and we 
 believe it to denote that Sly breaks off his speech with a nod of the 
 head, and a half-uttered ' here 's to your health,' as he drinks the 
 proffered wine. 
 
 I '11 have no more pity of his age, than I would have of— I '11 beat him an if I could 
 but meet him again ! — All's W., ii. 3. 
 
 Would I were dead, but that, methinks already — 
 What was he, that did make it ? See, my lord, 
 Would you not deem it breath'd ? and that those veins 
 Did verily bear blood ? — W. T., v. 3. 
 
 Because the Folio prints the above passage with a full stop after 
 " already " instead of a dash, there have not been wanting critics who 
 have supposed the line to be one which was originally followed by 
 another, omitted by the printer ; whereas we feel it to be precisel}' one 
 of those abrupt breaks in a passionate speech, which our Shakespeare 
 knew to be full of eloquent implication. The whole of the context 
 shows the speaker to be impressed with the conviction that what he 
 looks upon moves, breathes, exists ; and we take the imperfectly 
 expressed sentence : ' Would I were dead with her, but that methinks 
 already she moves and breathes, and lives again to me ! ' 
 
 He writes me here that inward sickness. — 
 And that his friends by deputation could not 
 So soon be drawn. — i H. IV., iv. i. 
 
764 THE SHAKESPEARE KEY. 
 
 In the above passage, the FoHo merely puts a comma after " sick- 
 ness " ; but who does not feel that it is Hotspur's characteristic way 
 of' breaking off a phrase, and leaving its completion to be understood 
 by the listener ? 
 
 I cannot speak ; if my heart be not ready to burst, — ^well, sweet Jack, have a care of 
 thyself.— 2 H. IV., ii. 4. 
 
 Well, fare thee well : I have known thee these twenty-nine years, come peascod- 
 time; but an honester and truer-hearted man, — well, fare thee well. — Ibid., ii. 4. 
 
 Thou shalt not die, whiles — 
 
 He beckons with his hand, and smiles on me. — i H. VI., i. 4. 
 
 I dare presume, sweet prince, he thought no harm. — 
 
 An if I wist he did, — but let it rest. — Ibid., iv. i. 
 
 Hard to seem won : but I was won, my lord. 
 
 With the first glance that ever — pardon me, 
 
 If I confess much, you will play the tyrant. — Tr. &• Cr., iii. 2. 
 
 The Folio misprints ' glance ; that ever pardon me ! ' But thoroughly 
 characteristic of the coquettish Cressida is that affected sudden pause 
 in her speech ; half pretendedly modest, half calculating, in its self- 
 check. True Shakespeare 1 even in his delineation of an untrue 
 woman ! 
 
 Five tribunes to defend their vulgar wisdoms. 
 Of their own choice : one 's Junius Brutus, 
 Sicinius Velutus, and I know not — 'Sdeath ! 
 The rabble should have first unroof'd the city. 
 Ere so prevail'd with me. — Coriol., i. i. 
 
 Though the Folio puts a full stop after " and I know not," it is 
 obviously a sentence broken off by the speaker's haughty petulance. 
 
 You shames of Rome ! you herd of— Boils and plagues 
 Plaster you o'er ; that you may be abhorr'd 
 Farther than seen, and one infect another 
 Against the wind a mile ! — Ibid., i. 4. 
 
 The Folio misprints thus, ' you Heard of Byles and Plagues ; ' de- 
 priving the passage of meaning, and' of the characteristically impetuous 
 break in Marcius's speech. 
 
 An 'twere to give again, — but 'tis no matter. — Ibid., ii. 3. 
 
 He had, sir, a kind of face, methought, — I cannot tell how to term it. — Ibid., iv. 5. 
 He had so ; looking as it were, — Would I were hanged, but I thought there was 
 more in him than I could think. — Ibid., iv. 5. 
 
 Well said, my hearts ! you are a princox ; go : 
 
 Be quiet, or — More light, more light ! — R. &• jful., i. 5. 
 
 I am sick at heart. 
 When I behold — -Seyton, I sa.y\—Macb., v. 3. 
 
 I am sorr}-, — 
 What, have you given him any hard words of late? — Hamlet, ii. i. 
 Ay, sir, but " while the grass grows," — the proverb is something musty. — Ibid., iii. 2. 
 So please you, — [Exit.] — Lear, i. 4. 
 
 In the above passage, the steward Oswald leaves his sentence 
 unfinished, and abruptly goes from the old king's presence, purposely 
 to manifest negligence and disrespect, in accordance with Goneril's 
 orders. 
 
 Fiery ? the fiery duke ? Tell the hot duke, that — 
 No, but not yet: may be, he is not well. — Ibid., ii.4. 
 
UNFINISHED SENTENCES. 765 
 
 Thy sister 's naught ; Regan, she hath tied 
 
 Sharp-tooth'd unkindness, Hke a vulture here — [Points to his heart. 
 
 I can scarce speak to thee ; thou 'It not believe 
 
 With how deprav'd a quality — Regan ! — Lear, ii. 4. 
 
 Give ear, sir, to my sister ; 
 For those that mingle reason with your passion, 
 Must be content to think you old, and so — 
 But she knows what she does. — Ibid., ii. 4. 
 Your old kind father, whose frank heart gave all, — 
 O, that way madness lies ; let me shun that. — Ibid., iii. 4. 
 In, boy; go first. You houseless poverty, — 
 Nay, get thee in. I '11 pray, and then I '11 sleep. — Ibid., iii. 4. 
 Why should she write to Edmund ? might not you 
 Transport her purposes by word ? Belike, , 
 
 Something — I know not what : I '11 love thee much ; 
 Let me unseal the letter. — Ibid., iv. 5. 
 She that, so young, could give out such a seeming. 
 To seel her father s eyes up close as oak, — • 
 
 He thought 'twas witchcraft ; — but I am much to blame. —0th., iii. 3; 
 Put out the light, and then — Put out the light ! 
 If I quench thee, thou flaming minister, 
 I can again thy former light restore, 
 Should I repent me. — Ibid., v. 2. 
 
 Although the Folio prints " then " without any stop or dash after it, 
 we think there is every reason to believe that the dramatist intended an 
 unfinished sentence here ; Othello interrupting himself in saying he 
 will put out the light, and then proceed to the fulfilment of his purposed 
 vengeance, by the reflections suggested by his own words, " Put out 
 the light " ; which he repeats and descants upon as applying to his 
 own intended deed. 
 
 Where is thy lady ? or, by Jupiter — 
 I will not ask again. Close villain, 
 I '11 have this secret from thy heart, or rip 
 Thy heart to find it. — Cym., iii. 5. 
 
 Next, for the passages where the speaker is interrupted by some 
 other speaker or speakers : — 
 
 Dogberry. Come, let them be opinioned. 
 Verges. Let them be in the hands — 
 Conrade. Off, coxcomb ! — M. Ado, iv. 2. 
 
 The Folio misprints this as all one speech (' Let them be in the 
 hands of Coxcombe '), and assigns it to the Sexton : whereas, " Let 
 them be in the hands" is evidently a portion of an order given by 
 Verges in confirmation of Dogberry's previous one, " Let them be 
 opinioned," because both Verges and Dogberry are spoken of else- 
 where in the play as "officers" of the watch; and "Off, coxcomb!" 
 is obviously spoken by one of the delinquents, because Dogberrj' 
 immediately afterwards says, "Let him write down — the prince's 
 officer, coxcomb." 
 
 Gremio. Hark you, sir : you mean not her t 
 
 Tranio. Perhaps, him and her, sir; what have you to do? — Tarn, of S., i. 2. 
 
 ParolUs. Hadst thou not the privilege of antiquity upon thee, — 
 
 Lafeu. Do not plunge thyself too far in anger. — All's W., ii. 3. 
 
765 THE SHAKESPEARE KEY. 
 
 Sir Toby. There is sixpence for you ; let 's have a song. 
 
 Sir Andrew. There's a testril of me too ; if one knight give a — 
 
 Clown. Would you have a love-song, or a song of good life ? — Tw. N., ii. 3. 
 
 The Folio places neither stop nor blank after "give a" in the above 
 passage ; so that it may be a printer's omission of some flabby reason 
 given by Sir Andrew for his giving a similar piece of money to the one 
 given by his brother "knight." Nevertheless, taken as a broken 
 speech, it serves well to denote Aguecheek's limp attempt to imitate his 
 knightly model, trying to give a reason, and failing from sheer incom- 
 petence to express himself. 
 
 Camilla. I have lov'd thee, — 
 
 Leontes. Make that thy question, and go rot I — W. T., i. 2 
 
 Winchester. But he shall know, I am as good — 
 
 Glosier. As good ! 
 
 Thou bastard of my grandfather ! — i H. VI., iii. i. 
 
 Suffolk. If thou wilt condescend to be my — 
 
 Q.Margaret. What? 
 
 Suffolk. His love. — Ibid., v. 3. 
 
 Glosier. She should have stay'd in France, and starved in France 
 Before — 
 
 Cardinal. My lord of Gloster, now you grow too hot. — 2 H. VI., i. i. 
 
 Suffolk. All the foul terrors in dark-seated hell — 
 
 Q. Margaret. Enough, sweet Suffolk ; thou torment'st thyself. — Ibid., iii. 2. 
 
 Say. You men of Kent, — 
 
 Dick. What say you of Kent ? — Ibid., iv. 7. 
 
 Say. This tongue hath parley'd unto foreign kings 
 For your behoof, — 
 
 Cade. Tut ! when struck'st thou one blow in the field ? — Ibid., iv. 7. 
 
 Clifford. And till I root out their accursed line. 
 And leave not one alive, I live in hell. 
 Therefore — 
 
 Rutland. 0, let me pray before I take my death ! — 3 H. VI., i. 3. 
 
 K. Henry. And, if the rest be true which I have heard, 
 Thou cam'st — 
 
 Gloster. I'll hear no more: die, prophet, in thy speech. — Ibid., v. 6. 
 
 Q. Margaret. Thou rag of honour ! Thou detested — 
 
 Gloster. Margaret. — R. III., i. 3. 
 
 Clarence. Who sent you hither ? Wherefore do you come ? 
 
 Both Murderers. To, to, to — 
 
 Clarence. To murder me ? — Ibid., i. 4. 
 
 Pandarus. I will not dispraise your sister Cassandra's wit. but — 
 
 Troilus. O Pandarus ! I tell thee, Pandarus, — Tr. &• Cr., i. i. 
 
 Hector. But I '11 endeavour deeds to match these words. 
 Or may I never — 
 
 Ajax. Do not chafe thee, cousin. — Ibid., iv. 5. 
 
 Lartius. Hadst thou beheld — 
 
 Martius. Pray, now, no more : my mother, 
 
 Who has a charter to extol her blood. 
 When she does praise me, grieves me. — Coriol., i. g. 
 
 Brutus. But since he hath 
 
 Serv'd well for Rome, — 
 
 Coriolanus. What do you prate of service! — Ibid., iii. 3. 
 
 Cominius. Know, 
 
 I pray you, — 
 
 Coriolanus. I '11 know no farther. — Ibid., iii. 3. 
 
UNFINISHED SENTENCES. 767 
 
 Cominius. Hear me, my masters, and my common friends,- - 
 
 Sicinius. He 's sentenc'd ; no more hearing. — Coriol., iii. 3. 
 
 Cominius. Then if I would 
 
 Speak that — 
 
 Sicinius. We know your drift : speak what ? — Ibid., iii. 3. 
 
 Third Conspirator. Sir, his stoutness 
 When he did stand for consul, which he lost 
 By lack of stooping, — 
 
 Aufidius. That I would have spoke of. — Ibid., v. 5. 
 
 First Conspirator. When he had carried Rome, and that we look'd 
 For no less spoil than glory, — 
 
 Aufidius. There was it ; 
 
 For which my sinews shall be stretch'd upon him. — Ibid., v. 5. 
 
 Romeo. Lady, by yonder blessed moon I swear. 
 That tips with silver all these fruit-tree tops, — 
 
 Juliet. O, swear not by the moon, th' inconstant moon. — R. &• Jul., ii. 2. 
 
 Romeo. If my heart's dear love — 
 
 Juliet. Well, do not swear : although I joy in thee, 
 I have no joy of this contract to-night. — Ibid., ii. 2. 
 
 Romeo. So thrive my soul, — 
 
 Juliet. A thousand times good night ! — Ibid., ii. 2. 
 
 Richly deserving of notice is the mode in which, during the above 
 love-dialogue (certainly the most poetically beautiful and dramatically 
 true to youthful nature ever penned !), the author has made Juliet 
 repeatedly interrupt her lover in his protestations with the breathless 
 eagerness of a rapture that cannot doubt its bliss, and needs no 
 assurances to convince her of that truth which her own truth of love has 
 already told her. The Folio, it is true, gives no typographical token of 
 these being interrupted speeches ; but the poet and dramatist's intention 
 is made clearly evident by his own exquisite power of composition, 
 which will not permit us to misunderstand his meaning. 
 
 First Lord. I am so far already in your gifts, — 
 
 All. So are we all. — Timon, i. 2. 
 
 Second Lord. It does : but time will — and so — 
 
 Third Lord. I do conceive. — Ibid., iii. 6. 
 
 Meiellus. Stand fast together, lest some friend of Csesar's 
 Should chance — 
 
 Brutus. Talk not of standing, Publius, good cheer. — Jul. C, iii. i. 
 
 Cassius. Brutus, this sober form of yours hides wrongs ; 
 And when you do them — 
 
 Brutus. Cassius, be content ; 
 
 Speak your griefs softly. — Ibid., iv. 2. 
 
 Second Murderer. We shall, my lord. 
 
 Perform what you command us. 
 
 First Murderer. Though our lives — 
 
 Macbeth. Your spirits shine through you. — Macb., iii. i. 
 
 Servant. There is ten thousand — 
 
 Macbeth. Geese, villain ? 
 
 Servant. Soldiers, sir. — Ibid., v. 3. 
 
 Bernardo. The bell then beating one, — 
 
 Marcellus. Peace I break thee off; look, where it comes again. — Hamlet, i. i. 
 
 Hamlet. When Roscius was an actor in Rome, — 
 
 Polonius. The actors are come hither, my lord. — Ibid., ii. 2. 
 
 Player King. And, haply, one as kind 
 
 For husband shalt thou — 
 
768 THE SHAKESPEARE KEY. 
 
 Player Queen. O, confound the rest 1 
 
 Such love must needs be treason in my breast. — Hamlet, iii. 2. 
 First Clown. I '11 put another question to thee : if thou answerest me not to the 
 purpose, confess thyself — 
 
 Second Clown. Go to. — Ibid., v. i. 
 
 Albany. How far your eyes may pierce, I cannot tell : 
 Striving to better, oft we mar what 's well. 
 
 Goneril. Nay, then — 
 
 Albany. Well, well ; the event. — Lear, i. 4. 
 
 Cornwall. To this chair bind him. Villain, thou shalt find — 
 
 [Regan plucks his beard. 
 
 Gloster. By the kind gods, 'tis most ignobly done 
 To pluck me by the beard. — Ibid., iii. 7. 
 
 Regan. Wherefore 
 
 To Dover ? Wast thou not charg'd at peril — 
 
 Cornwall. Wherefore to Dover ? Let him answer that. — Ibid., iii. 7. 
 
 Cornwall. If you see vengeance, — 
 
 Servant. Hold your hand, my lord. — Ibid., iii. 7. 
 
 Regan. Let me unseal the letter. 
 
 Oswald. Madam, I had rather — 
 
 Regan. I know your lady does not love her husband. — Ibid., iv. 5. 
 
 Gentleman. O, here he is : lay hand upon him. Sir, 
 Your most dear daughter — 
 
 Lear. No rescue ? What, a prisoner ? — Ibid., iv. 6. 
 
 Gentleman. Good sir, — 
 
 Lear. I will die bravely. — Ibid., iv. 6. 
 
 Desdemona. Trust me, I could do much, — 
 
 Othello. Pr'ythee, no more : let him come when he will ; 
 I will deny thee nothing. — 0th., iii. 3. 
 
 Dolabella. Though he be honourable, — 
 
 Cleopatra. He'll lead me, then, in triumph ? 
 
 Dolabella. Madam, he will ; I know it. — Ant. &• C, v. 2. 
 
 First Guard. Caesar hath sent — 
 
 Charmian. Too slow a messenger. — Ibid., v. 2. 
 
 lachimo. A piece of work 
 
 So bravely done, so rich, that it did strive 
 In workmanship and value ; which I wonder'd 
 Could be so rarely and exactly wrought. 
 Since the true life on 't was — 
 
 Posthumus. This is true ; 
 
 And this you might have heard of here, by me. 
 Or by some other. — Cym., ii. 4. 
 
 Philario. This is not strong enough to be believ'd 
 Of one persuaded well of — 
 
 Posthumus. Never talk on 't. — Ibid., ii. 4. 
 
 lachimo. Methinks I see him now, — 
 
 Posthumus. Ay, so thou dost, 
 
 Italian fiend! — Ibid., v. 5. 
 
 Imogen. Peace, my lord ; hear, hear — 
 
 Posthumus. Shall 's have a play of this ? — Ibid., v. 5. 
 
 Pericles. But, what music ? 
 
 Helicanus. My lord, I hear none. 
 
 Pericles. None ? 
 The music of the spheres ! List, my Marina. 
 
 Lysimachus. It is not good to cross him ; give him way. 
 
 Pericles. Rarest sounds ! Do ye not hear ? 
 
 Lysimachus. Miisic ? my lord, I hear — 
 
 Pericles. Most heavenly music ! — Per., v. i. 
 
UNFINISHED SENTENCES. 7^9 
 
 Notwithstanding that the ancient copies (both Folios and Quartos) of 
 this play put a full stop after " hear " in the above passage, we believe 
 that Shakespeare intended it should be a half-uttered assent of Lysi- 
 machus to Pericles, whom, he has just said, " it is not good to cross," 
 and whom he humours by repeating the word "music ? " questioningly, 
 and then adding words that shall let the prince suppose others besides 
 himself hear the divine strains which luUingly fill his senses. Some, 
 modern editors, instead of leaving the word " music " in Lysimachus's 
 speech, place it in the margin as a stage direction ; which, in our 
 opinion, literalises a poetical passage. It seems to us that the dra- 
 matist meant that the " music " to which Pericles so repeatedly refers 
 should be understood as a purely imaginary music, the spiritual echo 
 of his own harmonious condition of soul, which is tuned to rapture by 
 the recent recovery of his supposed dead child. 
 
 And next, for the passages where the speaker is interrupted by the 
 entrance of some person : — 
 
 A far more glorious star thy soul will make, 
 Than Julius Caesar or bright — 
 
 Enter a Messenger. 
 Messenger. My honourable lords, health to you all! — i H. VI., i. i. 
 
 King. And that, I hope, will teach you to imagine, — 
 Enter a Messenger. 
 How now ! what news ? 
 
 Messenger. Letters, my lord, from Hamlet ; 
 
 This to your majesty ; this to the queen. — Hamlet, iv. 7. 
 
 Epicurean cooks 
 Sharpen with cloyless sauce his appetite ; 
 That sleep and feeding may prorogue his honour 
 Even till a Lethe'd dulness ! — 
 
 Enter Varrius. 
 
 How now, Varrius ! 
 Varrius. This is most certain that I shall deliver. — Ant. &• C, ii. i. 
 
 Your crown's awry ; 
 I '11 mend it, and then play — 
 
 Enter the Guard, rushing in. 
 First Guard. Where is the queen ? — Ibid., v. 2. 
 
 Cloten. I will conclude to hate her, nay, indeed. 
 To be reveng'd upon her. For, when fools shall — 
 
 Enter Pisanio. 
 Who is here ? What, are you packing, sirrah ? — Cym., iii. 5. 
 
 And not your knowledge, your personal pain, but even 
 Your purse, still open, hath built Lord Cerimon 
 Such strong renown as time shall never — 
 
 Enter two Servants, with a chest. 
 First Servant. So, lift there. — Per., iii. 2. 
 
 Then come the instances where the speaker is interrupted by 
 death : — 
 
 O, I could prophesy, 
 But that the earthy and cold hand of death 
 Lies on my tongue : no, Percy, thou art dust, 
 And food for — [Dies.'] — i H. IV., v. 4. 
 
 3 D 
 
770 THE SHAKESPEARE KEY. 
 
 Nay, I will take thee too : [Applying another asp to her arm. 
 What should I stay — [Falls on a bed, and dies.] — Ant. &• C, v. 2. 
 
 And then come instances where Shakespeare causes a speaker to be 
 interrupted in his sentence, and to continue it afterwards : — 
 
 Juliet. But if thou mean'st not well, 
 
 I do beseech thee, — 
 
 Nurse [Within). Madam ! 
 
 yuliet. By-and-by, I come : — 
 
 To cease thy suit, and leave me to my grief. — R. &• yul., ii. 2. 
 Polonius. Upon my honour, — 
 Hamlet, Then came each actor on his ass, — 
 Polonius. The best actors in the world. — Hamlet, ii. 2. 
 Hamlet. The king is a thing — 
 Guildenstern. A thing, my lord ! 
 Hamlet. Of nothing : bring me to him. — Ibid., iv. 2. 
 Lear. Who is it that can tell me who I am ? — 
 Fool. Lear's shadow, — 
 
 Lear. I would learn that; for, by the marks of sovereignty, knowledge, and reason, 
 I should be false persuaded I had daughters. 
 Fool. Which they will make an obedient father. — Lear, i. 4. 
 
 In the above passage, both speakers continue their interrupted sen- 
 tence ; the old king pursuing his own train of thought and speech, 
 while the Fool half replies to, half comments upon, his master's wild 
 questioning. The old copies give this passage with deplorable inac- 
 curacy ; the Folio giving it incompletely, the Quartos making the 
 words " Lear's shadow " a part of Lear's own speech. 
 
 Lear. I gave you all — 
 
 Regan. And in good time you gave it. 
 
 Lear. Made you my guardians, my depositaries ; 
 But kept a reservation to be foUow'd 
 With such a number. — Ibid., ii. 4. 
 
 Lear. This is a dull sight. Are you not Kent ? 
 
 Kent. The same. 
 
 Your servant Kent. Where is your servant Caius ? 
 
 Lear. He 's a good fellow, I can tell you that ; 
 He '11 strike, and quickly too : he 's dead and rotten. 
 
 Kent. No, my good lord ; I am the very man — 
 
 Lear. I'll see that straight. 
 
 Kent. That, from your first of difference and decay. 
 Have follow' d your sad steps, — 
 
 Lear. You are welcome hither. 
 
 Kent. Nor no man else. — Ibid., v. 3. 
 
 Malone strangely interpreted the words, " Nor no man else," to be a 
 reply to Lear's previous sentence, and to signify, ' I welcome ! No, nor 
 no man else ! ' Whereas we think they are evidently intended as the 
 conclusion of Kent's attempt to make his old master comprehend the 
 identity between Kent and Caius, and that it is he himself, and "no 
 man else," who has followed the injured king from first to last. 
 lago. A thing for me ! It is a common thing- 
 Emilia. Ha? 
 
 lago. To have a foolish wife. — 0th., iii. 3. 
 Dolabella. If it might please you, — 
 
 Cleopatra. His face was as the heavens ; and therein stuck 
 A sun and moon, which kept their course, and lighted 
 The little 0, the earth. 
 
VARIATIONS. 771 
 
 Dolabella. Most sovereign creature^ — 
 
 Cleopatra. His legs bestrid the ocean : his rear'd arm 
 Crested the world : his voice . . . 
 
 . . . realms and islands were 
 As plates dropp'd from his pocket. 
 
 Dolabella. Cleopatra, — Ant, &• C, v. 2. 
 
 Shakespeare has given two specimens of an entire dialogue where 
 this kind of interruption is characteristically carried on. One is where 
 the vulgar-minded and vulgar-mannered Parolles perpetually breaks 
 in upon lord Lafeu's observations ; while the old nobleman steadily 
 cuts him and his intrusive nothings, by pursuing his own train of 
 thought without noticing the fellow's ill-breeding. The dialogue 
 commences thus : — 
 
 Lafeti. To be relinquished of the artists, — 
 
 Parolles. So I say ; both Galen and Paracelsus. 
 
 Lafeu. Of all the learned and authentic fellows, — 
 
 Parolles. Right ; so I say. 
 
 Lafeu. That gave him out incurable, — 
 
 Parolles. Why, there 'tis; so say I too, &c. — All's W., ii. 3. 
 
 The other dialogue is where Pandarus endeavours to deliver Troilus's 
 message to Paris ; but is perpetually interrupted by Helen's banter, 
 teasing the old go-between to sing. It runs thus : — 
 
 Pandarus. I have business to my lord, dear queen. My lord, will you vouchsafe m 
 a word ? 
 
 Helen. Nay, this shall not hedge us out : we '11 hear you sing, certainly. 
 
 Pandarus. Well, sweet queen, you are pleasant with me. But, marry, thus, my 
 lord, — my dear lord, and most esteemed friend, your brother Troilus, — 
 
 Helen. My lord Pandarus ; honey-sweet lord, — 
 
 Pandarus. Go to, sweet queen, go to : — commends himself most affectionately to you, — 
 
 Helen. You shall not bob us out of our melody; &c. — Tr. &• Cr., in. 1. 
 
 VARIATIONS. 
 
 It has been complained, by sticklers for what they call consistency, 
 that Shakespeare has given repetitions of certain sentences from 
 previous scenes in some of his plays, with verbal variations that show 
 inattention and negligence on the part of the author. To our thinking, 
 they, on the contrary, show his attention to nature and his care to make 
 his characters speak consistently with dramatic verisimilitude. In all 
 the passages where these variations in wording occur, we shall find 
 that there was some excellent reason for the dramatist's making the 
 speaker deviate from strict accuracy of repetition ; either to denote 
 hurry, or agitation, or heedlessness, or purposed incorrectness in the 
 person speaking. With regard to the first of the following passages, 
 we must premise that the Folio copy and the Quarto copies vary in 
 their version of the text ; and that our version adopts one phrase from 
 the Quartos. The phrase is, " what goes here?" which was origi- 
 nally misprinted 'who goes heare?' Just as, a little farther on in the 
 scene, the Folio misprints 'who' for "what," where Mrs. Page 
 exclaims, " What a taking was he in, when your husband asked what 
 
 3 D 2 
 
772 THE SHAKESPEARE KEY. 
 
 was in the basket ! " ' Who ' for ' what ' was formerly by no means 
 an unfrequent misprint. 
 
 Ford. How now ! what goes here ? whither bear you this ? 
 
 'Servant. To the laundress, forsooth. — Merry W., iii. 3. 
 
 Mrs. Page. What a taking was he in, when your husband asked what was in the 
 basket! — Ibid., iii. 3. 
 
 Falstaff. Being thus crammed in the basket, a couple of Ford's knaves, his hinds, 
 were called forth by their mistress, to carry me in the name of foul clothes to Datchet 
 Lane : they took me on their shoulders ; met the jealous knave their master in the 
 door, who asked them once or twice what they had in their basket. — Ibid., iii. 5.' 
 
 That Ford challenges the contents of the basket is sufficiently 
 indicated ; and to object that Mrs. Page does not repeat the exact 
 words of his inquiry, appears to us to show no better appreciation of 
 the dramatist's intention than if objection were made at her observing 
 " what a taking was he in, when," &c., on the ground that she could 
 not see or know how dismayed Falstaff was, since he was hidden 
 beneath the heap of linen. This mode of giving the spirit of a hurried 
 incident, when related by the parties concerned, instead of its letter, is 
 in accordance with Shakespeare's truth to nature and actual fact. 
 
 " Who chooseth me shall get as much as he deserves." — Mer. of V., ii. 7. 
 
 " Who chooseth me shall get as much as he deserves." — Ibid., ii. 7. 
 
 " Who chooseth me shall get as much as he deserves." — Ibid., ii. g. 
 
 " Who chooseth me shall have as much as he deserves." — Ibid., ii. g. 
 
 Because the inscription on the silver casket is three times worded 
 with the word "get," it has been contended by critics that " have " 
 should be ' get ' the fourth time the inscription is cited ; but we think 
 that inasmuch as the speaker is here agitatedly quoting from memory 
 the inscription previous to reading the " schedule," he does so most 
 naturally with a slight verbal difference. 
 
 Look on his letter, madam, here s my passport. 
 IReadsl " When thou canst get the ring upon my finger, which never shall come off, 
 and show me a child begotten of thy body, that I am father to, then call me husband." 
 — All's W; iii. 2. 
 
 There is your ring ; 
 
 And, look you, here 's your letter ; this it says : 
 
 " When from my finger you can get this ring 
 
 And are by me with child," &c. This is done : 
 
 Will you be mine, now you are doubly won ? — Ibid., v. 3. 
 
 In the former instance Helena is reading the letter ; in the latter she 
 is quoting it ; which points the dramatist has marked by putting the 
 letter itself in prose, while he puts its quoted substance into blank 
 verse, as forming part of her speech. But though one feels sure she 
 knows its every cruel sentence by heart, yet the very inaccuracy of the 
 cited words serves to indicate the quivering of the lip that repeats them, 
 and the shaking of the hand that holds out the paper containing them. 
 
 I marvel your ladyship takes delight in such a barren rascal : . . . unless you laugh 
 and minister occasion to him, he is gagged. — Tw. N., i. 5. 
 
 [Reads] " If this fall into thy hand, revolve. In my stars I am above thee; but be 
 not afraid of greatness : some are born great, some achieve greatness, and some have 
 greatness thrust upon them." — Ibid., ii. 5 {Letter). 
 
 Fool, there was never man so notoriously abused : I am as well in my wits, fool, as 
 thou art. — Ibid., iv. 2. 
 
VARIATIONS. 773 
 
 Why, " some are born great, some achieve greatness, and some have greatness thrown 
 upon them." I was one, sir, in this interlude, — one Sir Topas, sir; but that 's all one. 
 '• By the Lord, fool, I am not mad " ; but do you remember ? " Madam, why laugh you 
 at such a barren rascal ? an you smile not he 's gagged " ; and thus the whirligig of 
 time brings in his revenges. — Tw. N., v. i. 
 
 It has been suggested that "thrown" should be 'thrust'; in order to 
 consist (!) with the wording of the letter. Certainly not; the dramatist, 
 making the whole speech a jocular taunt of the Clown to Malvolio, 
 causes the wag to lightly quote a prominent sentence from the letter, 
 with the same inaccurate wording that he uses when reminding the 
 puritanical steward of certain other recent matters of grudge and 
 reprisal between them. The salient expressions " barren rascal," "he's 
 gagged," and the denial of imputed insanity are recalled; but with 
 precisely that variation from exactness which we find in real life, and 
 therefore in Shakespeare's page. 
 
 Master, there is three carters, three shepherds, three neat-herds, three swine-herds, 
 that have made themselves all men of hair, — they call themselves saltiers ; and they 
 have a dance. . . . Pray, let us see these four threes of herdsmen. — W. T., iv. 3. 
 
 Because of these last words it has been proposed to change " carters " 
 to ' goat-herds ; ' but it is thoroughly in characteristic accordance with 
 nature that the farm-servant should know precisely what are the several 
 callings of the rustics who personate these " men of hair," and should 
 designate them specially ; while the king, hearing chiefly the repetition 
 words " shepherds," "neat-herds" and "swine-herds," speaks of the 
 whole twelve as " these four threes of herdsmen." 
 
 Lord Marshal, command our officers at arms 
 
 Be ready to direct these home alarms. — R. II., i. i. 
 
 Marshal, demand of yonder champion 
 
 The cause of his arrival here in arms. — Ibid., i. 3. 
 
 Marshal, ask yonder knight in arms, 
 
 Both who he is, and why he cometh hither 
 
 Thus plated in habiliments of war. — Ibid., i. 3. 
 
 Because the word " lord " is omitted before " marshal " in the second 
 and third of the above passages, and because the omission would 
 improve the metre, Steevens and others leave out " lord " in the first 
 passage. But Shakespeare sometimes disregards the exact quantity 
 of feet in a line ; especially where a title or a proper name occurs. 
 Besides, it is not improbable that he made Richard say " Lord Marshal" 
 in the first scene, by way of marking this officer's rank and form of title 
 to the audience. 
 
 " Item, that the duchy of Anjou and the county of Maine shall be released and 
 delivered to the king her father" — 
 Uncle, how now ! — 
 
 Pardon me, gracious lord ; 
 Some sudden qualm hath struck me at the heart. 
 And dimm'd mine eyes, that I can read no farther. — 
 Uncle of Winchester, I pray, read on. — 
 [Reads] " Item, it is farther agreed between them, that the duchies of Anjou and 
 Maine shall be released and delivered over to the king her father." — 2 H. VI., i. i. 
 
 The variation in the wording of this item of the treaty has been 
 objected to by Malone and others, who accuse Shakespeare of "in- 
 accuracy" and " inconsistency." We believe it to be one of those 
 
774 THE SHAKESPEARE KEY. 
 
 inaccuracies and inconsistencies which the dramatist purposely commits 
 for the sake of giving natural effect to certain, passages, where varied 
 wording is true to nature in the situation he is representing. In the 
 present case, Gloster, while reading, gathers the main purport of the 
 distasteful item, and blurts it out in abstract ; while Winchester, bid to 
 "read on," does so with more verbal precision. 
 
 [Reads] " What fates await the Duke of Suffolk ?" 
 
 By water shall he die, and take his end. 
 
 [Reads] "What shall befall the Duke of Somerset ?" . . . 
 
 [Reads] •' Tell me what fate awaits the Duke of Suffolk ? 
 
 By water shall he die, and take his end, 
 
 What shall betide the Duke of Somerset ?" — 2 H. VI., i. 4. 
 
 The questions in the above passage are first propounded to the spirit 
 by Bohngbroke the conjuror ; who, having made himself acquainted 
 with their purport, words them rather according to their known substance 
 than with verbal implicitness to the form in which the duchess has 
 written them down. Although holding the paper in his hand, and 
 formally appearing to read from it, yet he delivers the questions with 
 just that want of literal exactness which is natural under such circum- 
 stances. The second time it is York who reads them from the paper 
 where they are written, together with the answers that have been added 
 from the spirit's rejoinder ; and he, of course, reads verbatim what he 
 finds penned down. This, we think, accounts for the variation between 
 the forms of the same questions ; and even shows a certain amount of 
 dramatic propriety in the variation. 
 
 If ever he have wife, let her be made 
 
 More miserable by the death of him, 
 
 Than I am made by my young lord and thee ! — R. III., i. 2. 
 When he, that is my husband now. 
 
 Came to me, as I foUow'd Henrys corse ; 
 
 When scarce the blood was well wash'd from his hands. 
 
 Which issu'd from my other angel husband, 
 
 And that dead saint which then I weeping follow'd ; 
 
 0, when, I say, I look'd on Richards face. 
 
 This was my wish, — " Be thou,'' quoth I, " accurs'd. 
 
 For making me, so young, so old a widow ! 
 
 And, when thou wedd'st, let sorrow haunt thy bed ; 
 
 And be thy wife (if any be so mad) 
 
 More miserable by the life of thee 
 
 Than thou hast made me by my dear lord's death ! " — Ibid., iy. i. 
 
 In the penultimate line of the last-cited passage, the Quarto copies 
 give ' death ' instead of " life," and give other minor differences in this 
 sentence, which cause it to correspond more closely with the words 
 previously used by Anne in act i., sc. 2, that she is now quoting. But 
 the Folio reading, which we adopt, is in accordance with other varia- 
 tions which Anne here makes ; for she not only repeats her own words 
 with natural inexactness, she also describes herself as having addressed 
 Richard, when, in fact, she addressed the corse of King Henry VI. 
 
 How far off lie these armies ? — 
 
 Within this mile and half. — Coriol., i. 4. 
 
 The citizens of Corioli have issu'd. 
 
 And given to Lartius and to Marcius battle ; 
 
 I saw our party to their trenches driven, 
 
 And then I came away. — 
 
VARIATIONS. 775 
 
 Though thou speak'st truth, 
 Methinks thou speak'st not well. How long is't since ? — 
 Above an hour, my lord. — 
 'Tis not a mile ; briefly we heard their drums : 
 How could 'st thou in a mile confound an hour. 
 And bring thy news so late ? — CorioL, i. 6. 
 
 In the first of the two above-cited passages Steevens proposed to 
 omit the words " and half" from the conclusion of the line, because he 
 complains that they disturb the measure, and because, he says, it is 
 mentioned in the second passage that "'tis not a mile " between the 
 two armies. But, not only does Shakespeare occasionally give lines of 
 more or fewer than ten feet, he sometimes purposely gives these 
 variations in reports of distance or numbers on a battle-field, as being 
 peculiarly natural to the scene. 
 
 Draw Ben volio ; beat down their weapons. 
 Gentlemen, for shame, forbear this outrage ! 
 Tybalt, — Mercutio, — the prince expressly hath 
 Forbidden bandying in Verona streets : 
 Hold, Tybalt!— Good Mercutio. —J?. &■ JuL, iii. i. 
 
 Romeo he cries aloud, 
 " Hold, friends ! friends, part ! " and, swifter than his tongue, 
 His agile arm beats down their fatal points. 
 And 'twixt them rushes. — Ibid., iii. i. 
 
 Here, in the account which Benvolio gives of the fray, he repeats 
 Romeo's words with just that variation in literal precision which is in 
 accordance with repetitions of the kind in real life. 
 
 All hail, Macbeth ! that shalt be king hereafter. — Macb., i.3. 
 
 These weird sisters saluted me, and referred me to the coming on of time, with, 
 " Hail, king that shalt be! " — Ibid., i. 5 (Letter). 
 
 In his letter to his wife, Macbeth quotes the witches' prognostic with 
 natural deviation from its exact wording. 
 
 Be bloody, bold, and resolute ; laugh to scorn 
 The power of man, for none of woman born 
 Shall harm Macbeth. — Ibid., iv. i. 
 
 The spirits that know 
 All mortal consequences have pronounced me thus, — 
 " Fear not, Macbeth; no man that's born of woman 
 Shall e'er have power upon thee." — Ibid., v. 3. 
 Macbeth shall never vanquish'd be, until 
 Great Birnam wood to high Dunsinane hill 
 Shall come against him. — Ibid., iv. i. 
 I pull in resolution ; and begin 
 To doubt th' equivocation of the fiend. 
 That lies like truth : " Fear not, till Birnam wood 
 Do come to Dunsinane." — Ibid., v. 5. 
 
 In both the last-quoted instances, Macbeth repeats the oracular sen- 
 tences of the apparitions summoned by the witches, with the slight 
 verbal alteration that Shakespeare introduces on these occasions with 
 so natural an effect. 
 
 How look I, 
 That I should seem to lack humanity 
 
 So much as this fact comes to ? [Reading} " Do 't: the letter 
 That I have sent her, by her own command 
 Shall give thee opportunity.'' — Cym., iii. 2 
 
776 THE SHAKESPEARE KEY. 
 
 Let thine own hands take away her life: I shall give thee opportunity at Milford 
 Haven : she hath my letter for the purpose. — Cym., iii. 4. 
 
 In the first of the above two citations, Pisanio is glancing at the cruel 
 contents of his master's letter, and giving the substance of a sentence 
 from it, so as to form part of his own blank- verse speech ; in the latter, 
 Imogen is reading the letter itself, which is in prose : these combined 
 circumstances account for Shakespeare's having, according to his 
 wont in such cases, given the due amount of variation proper to dra- 
 matically artistic effect. Another point in connection with this letter 
 is that no portion of it which is read aloud contains any command 
 respecting a token to be sent ; though Pisanio says to Imogen : — 
 
 I '11 give but notice you are dead, and send him 
 Some bloody sign of it; for 'tis commanded 
 I should do so. — Ibid., iii. 4. 
 
 But it may be supposed that this command has been added in a 
 postscript, or in a portion of the letter left unread by Imogen, when 
 she has perused its first bitter .sentences. 
 
 Upon a time, — unhappy was the clock 
 
 That struck the hour ! — it was in Rome, — accurs'd 
 
 The mansion where ! — 'twas at a feast, — 0, would 
 
 Our viands had been poison'd, or at least 
 
 Those which I heav'd to head ! — the good Posthumus, — 
 
 What should I say ! he was too good to be 
 
 Where Jll men were ; and was the best of all 
 
 Amongst the rest of good ones, — sitting sadly, 
 
 Hearing us praise our loves of Italy 
 
 For beauty, &c — Ibid., v. 5. 
 
 The above description does not precisely tally with the circumstances 
 of the incident as it actually occurred in the fifth scene of the first act ; 
 but we have shown that Shakespeare occasionalh- gives these variations 
 in particular detail ; and, in the present case, he maj- either have given 
 it for the sake of producing the effect of that inaccuracy of memory 
 which often marks the narration of a past occurrence even in persons 
 habitually truthful, or in order to denote lachimo's innate untruthful- 
 ness and unscrupulousness, which lead him to falsify in minor matters 
 as in those of greater moment. 
 
 Speak, Pyramus. Thisby, stand forth. — 
 
 Tliisby, the flowers of odious savours sweet, — 
 
 " Odours, odours." — 
 
 odours savours sweet : 
 
 So hath thy breath, my dearest Thisby, dear. 
 
 But hark .' a voice ; stay thou but here awhile. 
 
 And by-and-by I will to thee apjtear. [Exit. 
 
 Must I speak now ? 
 Ay, marry, must you ; for you must understand, he ^oes but to see a noise that he 
 heard, and is to come again. 
 
 Most radiant Pyramus, most lily-white of hue. 
 
 Of colour like the red rose on triumphant brier. 
 
 Host brisky Juvenal, and eke most lovely ycc. 
 
 As true as truest horse, that yet would never tire, 
 
 I 'II meet thee, Pyramus, at Ninny's tomb. 
 " Ninus' tomb," man ! Why, you must not speak that yet ; that you answer to 
 Pyramus : you speak all your part at once, cues and all. Pyramus, enter : your cue is 
 past, it is, " never tire." 
 
VARIATIONS. 777 
 
 0, — As trice as truest horse^ that yet would never tire. — 
 
 Re-enter Puck, and Bottom with an ass's head. 
 If I were, fair Tkisby, I were only thine. — Mid. N. D., iii. i. 
 / see a voice : now will I to the chink. 
 To spy an I can hear my Thisby s face. 
 Thisby ! — 
 
 My love I thou art my love, I think. — 
 Think what thou wilt, I am thy lover s grace ; 
 And, like Limander, am I trusty still. — 
 And I like Helen, till the Fates me kill. — 
 Not Shafalus to Procrus was so true. — 
 As Shafalus to Procrus, I to you. — 
 0, kiss me through the hole of this vile wall ! — 
 I kiss the wall's hole, not your lips at all. — 
 Wilt thou at Ninny's tomb meet me straightway ? — 
 'Tide life, 'tide death, I come without delay. — Ibid., v. i. 
 
 By the above extracts, it will be seen that the dialogue of the interlude 
 is made to vary at performance from what it is at rehearsal ; and we 
 believe that Shakespeare purposely did this to avoid the flat eifect upon 
 his audience which an exact repetition would have produced. He pre- 
 ferred giving an inexactitude to giving a platitude. 
 
 He occasionally has some variations in stated times : — 
 But this new governor 
 Awakes me all the enrolled penalties, 
 Which have, like unscour'd armour, hung by the wall 
 So long, that nineteen zodiacs have gone round. 
 And none of them been worn. — M.for M., i. 3, 
 We have strict statutes, and most biting laws, — 
 The needful bits and curbs to headstrong steeds, — 
 Which for 'Cat&t fourteen years we have let sleep. — Ibid., i. 4. 
 
 See Alleged Anachronisms, &c., for an explanation of the above 
 variation in stated time ; and for two other similar instances. 
 
 Impute it not a crime 
 To me or my swift passage, that I slide 
 O'er sixteen years, and leave the growth untried 
 Of that wide gap. — W. T., iv. (Chorus). 
 It is fifteen years since I saw my country. — Ibid., iv. i. 
 In making Camillo speak of a fifteen years' interval, while Time, as 
 Chorus, mentions sixteen years as having elapsed since the events that 
 happened in the play during the first three acts, Shakespeare gives one 
 of those variations in statement which come naturally from a person 
 supposed to talk without strict precision of a past period. 
 
 In some cases, the dramatist gives a variation of construction in one 
 speech \_See Peculiar Construction] ; and he does this with a view 
 to characteristic effect — generally, to mark agitation in the speaker. 
 He has occasional variations of an auxiliary verb in the same 
 sentence : — 
 
 " The time shall come," thus did he follow it, 
 " The time will come, that foul sin, gathering head. 
 Shall break into corruption " : — so went on. — 2 H. IV., iii. i. 
 I will hold my peace when Achilles' brach bids me, shall I ? — Tr. &• Cr., ii. i. 
 
 He now and then varies the form in names of places ; sometimes 
 for the sake of metre, sometimes for the sake of rhyme : — 
 Let what is dear in Sicily be cheap. — W. T., i. 2 
 
778 THE SHAKESPEARE KEY. 
 
 Purchase the sight again of dear Sicilia. — W. T., iv. 3. 
 
 Young prince of Tyre, you have at large receiv'd.— Pen, i. i. 
 
 Our son and daughter shall in Tyrus reign. — Ibid., v. 3. 
 In her unholy service. Patience, then, 
 And think you now are all in Mitylen. — Ibid., iv. 4 [Gower). 
 
 Sir, there's a barge put off from Mitylene. — Ibid., v. i. 
 What minstrelsy, and pretty din, 
 The regent made in Mitylin. — Ibid., v. 2. (Gozscr). 
 
 He occasionally gives variation in names of persons ; sometimes to 
 suit the metre, sometimes as a token of familiarity, sometimes even to 
 denote a humorous alteration made by the speaker — as in the first 
 case we cite: — 
 
 Who, Sir Andrew Aguecheek ? Tw. N., i. 3. 
 
 For here comes Sir Andrew Ague-face. — Ibid., i. 3. 
 
 There is Anne Page, which is daughter to Master George Page. — Merry W., i. i. 
 
 Therefore no more turn me to him, sweet Nan. — Ibid., iii. 4. 
 
 Thou blushest, Antony, and that blood of thine. — Ant. &■ C, i. i. 
 
 Is Csesar with Anionius priz'd so slight ? — Ibid., i. i. 
 
 By thee, old Capulet, and Montague. — R. &• yul., i. i. 
 
 Her body sleeps in Capels' monument. — Ibid., v. i. 
 
 O Cressida ! but that the busy day. — Tr. &• Cr., iv. 2. 
 
 Make Cressid's name the very crown of falsehood. — Ibid., iv. 2. 
 
 The Grecian Dionied, and our Antenor. — Tr. &• Cr., iv. 2. 
 
 We must give up to Diomedes' hand the lady Cressida. — Ibid., iv. 2. 
 
 Gentle son Edward, thou wilt stay with me ? — 3 H. VI., i. i. 
 
 Ned, sweet Ned I speak to thy mother, boy ! — Ibid., v. 5. 
 Good morrow, Ned. — i H. IV., i. 2. 
 
 Hear ye, Yedward ; if I tarry at home. — Ibid., i. 2. 
 
 Here 's to thee, Menas ! 
 
 Enobarbus, welcome ! — Ant. &• C, ii. 7. 
 
 You see, we have burnt our cheeks, strong Enobarbe 
 
 Is weaker than the wine. — Ibid., ii. 7. 
 Now, Hal, what time of day is it, lad ? — i H. IV., i. 2. 
 Harry, I do not only marvel where thou spendest thy time. — Ibid., ii. 4. 
 Three times hath Henry Bolingbroke made head. — Ibid., iii. i. 
 Made love to Nedar's daughter, Helena. — Mid. N. D., i. i. 
 Helen, to you our minds we will unfold. — Ibid., i. i. 
 No more of this, Helena, — go to, no more. — All's W., i. i. 
 Little Helen, farewell : if I can remember thee. — Ibid., i. i. 
 Because she 's kin to me, therefore she 's not so fair as Helen. — Tr. &-Cr.,i. i. 
 Nell, he is fiill of harmony. — Ibid,, iii. i. 
 Thou speak'st like a physician, Helicanus. — Per., i. 2. 
 Follow me, then. Lord Helicane, a word. — Ibid., ii. 4. 
 
 1 got possession oi Julietta's bed. — M.for M.. i. 3. 
 With character too gross is writ on jfuliet. — Ibid., i. 3. 
 
 God forbid ! Where 's this girl ? What, Juliet.—R. &■ yul., i. 3. 
 
 Wilt thou not, Jule ? and, by my holy-dame. — Ibid., i. 3. 
 
 Her name is Katharina Minola. — Tam. of S., i. 2. 
 
 Till Katharine the curst have got a husband. — Ibid., i. 2. 
 
 I pr'ythee, sister Kate, untie my hands. — Ibid., ii. i. 
 
 To our most fair and princely cousin Katharine. — H. V., v. 2. 
 
VARIATIONS. 779 
 
 Do you like me, Kate ? — H. V., v. 2. 
 
 Katharine our queen, before the primest creature. — H. VIII., ii. 4. 
 
 Go thy ways, Kate. — Ibid., ii. 4. 
 
 Good Margaret, run thee to the parlour. — M. Ado, iii. i. 
 
 No, pray thee, good Meg, I '11 wear this. — Ibid., iii. 4. 
 
 A stoop of wine, Maria!— Tw. N., ii. 3. 
 
 Marian, I say! a stoop of wine ! — Ibid., ii. 3. 
 
 Mistress Mary, if you prized my lady's favour. — Ibid., ii. 3. 
 
 Pandarus ! I tell thee, Pandarus. — Tr. &• Cr., i. i. 
 
 1 cannot come to Cressid but by Pandar. — Ibid., i. i. ' 
 You did supplant your brother Prospero. — Temp., ii. i. 
 
 From bogs, fens, flats, on Prosper fall, and make him. — Ibid., ii. 2. 
 
 Hard-favour'd Richard? Richard, where art thou ? — 3 H. VI., v. 5. 
 
 And thou mis-shapen Dick, — I tell ye all. — Ibid., v. 5. 
 
 For Dickon thy master is bought and sold. — R. III., v. 3 (Scroll). 
 
 And I had his, Sir Robert his, like him. — yohn, i. i. 
 
 I would not be Sir Nob in any case. — Ibid., i. i. 
 
 How his companion, youthful Valentine. — Two G. of V., i. 3. 
 
 With Valentinus in the emperor's court.— /6id., i. 3. 
 
 Shakespeare sometimes gives variation in a form of address or of 
 mention ; and, generally, with some definite dramatic purpose: — 
 
 Mrs. Overdone. What's to do here, Thomas Tapster? Let's withdraw. — 
 M.for M., i. 2. 
 
 Escalus. What 's your name, master tapster ? — 
 
 Clown. Pompey. — Ibid., ii. i. 
 
 Lucio. Art going to prison, Pompey ? — Ibid., iii. 2. 
 
 The fact that his mistress calls the tapster-clown " Thomas," would 
 lead us to suspect that he impudently gives Escalus an ' alias ' in the 
 second of the above instances ; but as Lucio addresses him by the 
 same name that he gives to Escalus, we take "Pompey" to be a 
 familiar appellation bestowed upon him by waggish customers and 
 adopted by himself. 
 
 Antipholus S. What's her name ? 
 
 Dromio S. Nell, sit.— Com. of E., iii. 2. 
 
 Dromio S. Where Dowsabel did claim me for her husband. — Ibid., iv. i. 
 
 We presume that Dromio invents a name in both instances for the 
 kitchen-wench: first, "Nell" to afford a pun with "an ell," in allusion 
 to her breadth of proportions ; secondly, " Dowsabel," by way of a fleer 
 at her assault upon him — to ' dowse,' in old English parlance, 
 signifying to give a blow on the face, to strike. 
 
 Parolles. O, my knave, — how does my old lady ? — All's W., ii. 4. 
 
 Parolles. Good Monsieur Lavatch, give my lord Lafeu this letter : I have ere now, 
 sir, been better known to you, when I have held familiarity with fresher clothes. — 
 Ibid., V. 2. 
 
 The contrast between the braggart's lordly style of addressing the 
 Clown in the first instance, and his cringing style of address in the 
 latter instance, is admirably characteristic. 
 
 King John. Kneel thou down, Philip, but arise more great, — 
 Arise Sir Richard and Plantagenet. — yohn, i. i. 
 King yohn. Hubert, keep this boy. Philip, make up. — Ibid., iii. 2. 
 Salisbury. Sir Richard, what think you .' — Ibid., iv. 3. 
 Salisbury. Stand by, or I shall gall you, Faulconbridge. — Ibid., iv. 3. 
 
78o THE SHAKESPEARE KEY. 
 
 In the second of the above cases, it has been objected that the king, 
 who has knighted PhiHp Faulconbridge by the title of Sir Richard 
 Plantagenet, should call him " Philip"; but the old familiar name is 
 used here, as in the fourth of the above cases. In other passages of the 
 play the dramatist has maintained the same variations, as if to denote 
 that the renownedly brave man was popularl}' known by both his former 
 and his subsequent denominations. 
 
 Duchess. Here comes my son Aumerle. 
 
 York. Aumerle that was ; 
 
 But that is lost for being Richard's friend, 
 And, madam, you must call him Rutland now. — R. II., v. 2. 
 
 Duchess. Strike him, Aumerle. Poor boy, thou art amaz'd. — Ibid., v. 2. 
 
 Duchess. By pardoning Rutland, my transgressing boy. — Ibid., v. 3. 
 
 Most naturally, the mother calls her son by the old familiar name in 
 the moment of urging him to prevent the servant from aiding York in 
 his journey to court for the purpose of revealing the discovered treason ; 
 but, as naturally, she calls her son by the new name assigned to him 
 by Bolingbroke when imploring the latter to grant her boy's pardon. 
 
 Prince Henry. Call in Falstaff: I'll play Percy, and that damned brawn shall play 
 Dame Mortimer his wife. — i H, IV., ii. 4. 
 
 Mortimer. Good father, tell her that she and my aunt Percy shall follow in your 
 conduct speedily. — Ibid., iii. i. 
 
 Hotspur. Come, Kate, I '11 have your song too. — Ibid., iii. i. 
 
 Prince Henry calls Lady Percy by her maiden name, "Dame 
 Mortimer." Mortimer speaks of her as his kinswoman, and by her 
 married name, " my aunt Percy"; and Hotspur addresses his wife by 
 her Christian name, " Kate." 
 
 Glendower. Sit, cousin Percy ; sit, good cousin Hotspur ; 
 For by that name as oft as Lancaster 
 Doth speak of you, his cheek looks pale. — Ibid., iii. i. 
 
 Glendower. Three times hath Henry Bolingbroke made head 
 Against my power. — Ibid., iii. i. 
 
 Very natural is Glendower's calling Percy by his surname of 
 " Hotspur," in order to recall its effect upon King Henry ; whom he, 
 again most naturally, adverts to by his simple patronymic of 
 " Lancaster," and by his family name of " Henry Bolingbroke," which 
 has the effect of implying that he is a usurper and no true monarch. 
 
 Sir, ancient Pistol's below, and would speak with you. — 2 H. IV., ii. 4. 
 
 No, good Captain Pistol ; not here, sweet captain. — Ibid., ii. 4. 
 
 Come, Lieutenant Pistol. — Ibid., v. 5. 
 
 I tell thee what. Corporal Bardolph. — Ibid., ii. 4. 
 
 Good-morrow, Lieutenant Bardolph. — H. V., ii. i. 
 
 By the above variation in the titles given by these swashbucklers to 
 one another, it should seem that the dramatist intended to convey the 
 indefiniteness of their respective grades, as being altogether a pretence; 
 and that occasionally they themselves were at a loss to remember what 
 was the special title that each had assumed. 
 
 First, you know, Caius Marcius is chief enemy to the people. — Coriol., i. i. 
 
 And from this time. 
 For what he did before Corioli, call him. 
 
VARIATIONS. 781 
 
 With all th' applause and clamour of the host, 
 
 Caius Marcins Coriolanus. — Coriol., i. g. 
 
 My gentle Marcius, worthy Caius, and ■ 
 
 By deed-aehieving honour newly nam'd, — 
 
 What is it ? Coriolanus must I call thee ? — Ibid,, ii. i. 
 
 A little of that worthy work perform'd 
 
 By Caius Marcius Coriolanus ; whom 
 
 We meet here, both to thank, and to remember 
 
 With honours like himself — Ibid., ii. 2. 
 
 Sit, Coriolanus ; never shame to hear 
 
 What you have nobly done. — Ibid., ii. 2. 
 
 A fearful army, led by Caius Marcius, 
 
 Associated with Aufidius, rages 
 
 Upon our territories. — Ibid., iv. 6. 
 
 To his surname, Coriolanus, 'longs more pride 
 
 Than pity to our prayers. — Ibid., v. 3. 
 
 How naturally sometimes the old familiar name, sometimes the 
 honourably gained added name, is used in the above passages ! 
 Do you know this noble gentleman, Edmund ? — Lear, i. i. 
 True or false, it hath made thee Earl of Gloster. — Ibid., iii. 5. 
 Back, Edmund, to my brother. — Ibid., iv. 2. 
 My most dear Gloster t — Ibid., iv. 2. 
 
 Lord Edmund spake not with your lord at home ? — Ibid., iv. 5. 
 And give the letters, which thou find'st about me, 
 To Edmund, Earl of Gloster. — Ibid., iv. 6. 
 
 In each of the above-quoted instances the variation of form in name 
 and title is made with dramatically appropriate effect. 
 One Michael Cassio, a Florentine. — 0th., i. i. 
 Good Michael, look you to the guard to-night. — Ibid., ii. 3. 
 Come, lieutenant, I have a stoop of wine. — Ibid., ii. 3. 
 
 Now, 'mongst this flock of drunkards. 
 Am I to put our Cassio in some action 
 That may offend the isle. — Ibid., ii. 3. 
 How comes it, Michael, you are thus forgot ? — Ibid., ii. 3. 
 
 Cassio, I love thee ; 
 But never more be officer of mine. — 0th., ii. 3. 
 
 Admirably are the above differences of appellation made to conduce 
 to dramatic purpose. lago speaks of his brother officer first by his full 
 name to Roderigo ; later on he speaks of him sneeringly as "our 
 Cassio," but he addresses him by the title of " lieutenant," which so 
 excites his own secret envy. And even still more marked is the mode 
 in which Othello familiarly and affectionately calls his favourite 
 subaltern by his Christian name " Michael," before the young man's 
 transgression, but never afterwards. 
 
 Good Enobarbus, 'tis a worthy deed. — Ant. &• C, ii. 2. 
 
 Why, Enobarbus, when Antony found Julius Caesar dead. — Ibid., iii. 2. 
 
 More, Domitius ; my lord desires you presently. — Ibid., iii. 5. 
 
 He will not fight with me, Domitius. — Ibid., iv. 2. 
 
 Shakespeare makes this character generally addressed by his chief 
 name of " Enobarbus " ; but, in two cases, by his pre-name of 
 "Domitius." In one case by Antony's personal attendant Eros, and 
 in the other case by Antony himself. 
 
782 THE SHAKESPEARE KEY. 
 
 Shakespeare occasionally gives varieties in corrupt pronunciations, 
 which have a humorous as well as a natural effect ; blunderers often 
 hitting upon wrong utterances, though sometimes stumbling upon right 
 ones : — 
 
 Sir Hugh Evans. There is also another device in my prain, which, peradventure, 
 prings goot discretions with it. — Merry W., i. i. 
 
 Sir Hugh Evans. Can you carry your good will to the maid? — Ibid., i. i. 
 
 Dr. Cains. Vere is dat knave Rugby? — Ibid., i. 4. 
 
 Dr. Cains. I pray you, bear vitness that me have stay six or seven, two, tree hours 
 for him. — Ibid., ii. 3. 
 
 Hostess Quickly. I pray ye, since my exion is entered. — 2 H. IV., ii. i. 
 
 Hostess Quickly. Master Fang, have you entered the action? — Ibid., ii. i. 
 
 Hostess Quickly. Good Captain Peesel, be quiet. — Ibid., ii. 4. 
 
 Hostess Quickly. No, good Captain Pistol ; not here. — Ibid., ii. 4. 
 
 VARIED MEANINGS COMBINED IN ONE WORD OR 
 SENTENCE. 
 
 A peculiar feature in Shakespeare's style is his masterly manner of 
 comprising in a single felicitously chosen epithet a variety of signifi- 
 cations, thus expressed at one and the same moment — a grand essen- 
 tial for a dramatist, whose aim is to produce at the first hearing of his 
 lines, a prompt comprehension of the idea or ideas he intends to convey. 
 Coleridge says: "The play of assimilation, the meaning one sense 
 chiefly, and yet keeping both senses in view, is perfectly Shakespearian." 
 And this remark is strongly exemplified in certain words and phrases 
 used by him : — 
 
 Mark, then, abounding valour in our English ; 
 That, being dead, like to the bullet's grazing. 
 Break out into a second course of mischief, 
 Killing in relapse of mortality. — H. V., iv. 3. 
 
 Here, the word " abounding " is used with such force of witty as 
 well as energetic force, that it conveys the effect of ' a bounding ' as 
 well as ' abundant ; ' and gives wonderful impetus and spirit to the 
 passage. 
 
 So in approof lives not his epitaph 
 
 As in your royal speech. — All's W., i. 2. 
 
 " Approof" here conveys the double effect of ' proof and ' approval. 
 I am disgrac'd, impeach 'd, and baffled here. — R. II., i. i. 
 
 Thus put into the mouth of the king-checked Norfolk, the word 
 " baffled " includes the triple signification of ' foiled ' or ' defeated,' of 
 ' reviled ' or ' abused,' and of ' degraded,' in allusion to the technical 
 term for punishing a recreant knight by hanging him up by the heels, 
 — old French, baffoler. 
 
 Have I not heard these islanders shout out, 
 
 " Vive le roi J " as I have bank'd their towns? — jfohn, v. 2. 
 
 In conjunction with its context in the speech, " bank'd" here com- 
 prises the three meanings of ' thrown up embankments in front of 
 
VARIED MEANINGS, &•€. 783 
 
 assailed towns,' ' skirted those towns that stood on the river's banks,' 
 and ' gained towns, placing them in bank as tricks at games of cards.' 
 
 Never anybody saw it but his laclcey : 'tis a hooded valour ; and when it appears it 
 will bate. — H. V., iii. 7. 
 
 The last word combines the expression technically used by falconers 
 of a hawk, which, when it is unhooded, is said to "bate " — that is, to 
 ' beat,' ' flap,' or ' flutter' its wings, with the abbreviated form of ' abate,' 
 in the sense of 'diminish,' 'dwindle.' 
 
 Let us do so : for we are at the stake. 
 
 And bay'd about with many enemies. — yul. C, iv. i. 
 
 The word "bay'd" here has the comprehensive force of 'encom- 
 passed,' of ' brought to a stand,' as when a stag is at bay, and of 
 ' baited ' or ' barked at,' as a hunted animal, or one bound to a stake, 
 is bayed at by dogs. 
 
 O Antony, 
 Thou mine of bounty, how wouldst thou have paid 
 My better service, when my turpitude 
 Thou dost so crown with gold ! This blows my heart. — Ani. & C, iv. 6. 
 
 The forcible expression "blows" gives the sense of ' swells ' and the 
 effect of ' strikes.' 
 
 And so, great powers, 
 If you will take this audit, take this life. 
 And cancel these cold bonds. — Cym., v. 4. 
 
 Here " bonds " is used with triple play on the word ; in reference to 
 the legal instrument so called, to the iron shackles on the speaker's 
 limbs, and to the sense in which the poet sometimes elsewhere employs 
 " bond " as that whereon the term of " life " is held. 
 
 For that will physic the great myrmidon 
 Who broils in loud applause. — Tr. &• Cr., i. 3. 
 
 What a capital expression, that " broils ! " How it suggests the 
 image of a man who swells and sweats in the fire of applause, as 
 broiling meat swells, spits, fumes, and exudes, above the red coals; 
 and how well it includes the sense of ' is quarrelsome,' ' is resentful,' 
 ' is hostilely arrogant ! ' 
 
 Lean but upon a rush. 
 The cicature and capable impressure 
 Thy palm some moment keeps. — As You L., iii. 3. 
 
 Here he makes "capable" equivalent to the compound expression 
 ' able-to-be-received,' with the included meaning of ' visible ' or ' able- 
 to-be-seen.' 
 
 Even so my bloody thoughts, with violent pace. 
 
 Shall ne'er look back, ne'er ebb to humble love. 
 
 Till that a capable and wide revenge 
 
 Swallow them up. — 0th., iii. 3. 
 
 Here he makes "capable" convey the combined senses of 
 ' capacious,' ' comprehensive,' ' capable of receiving,' and ' capable 
 of satisfying.' 
 
 To sit and draw 
 His arched brow, his hawking eye, his curls. 
 In our heart's table, — heart too capable 
 Of every line and trick of his sweet favour. — All's W., i. i. 
 
784 THE SHAKESPEARE KEY. 
 
 Here he uses " capable " to express ' susceptible ' and ' able to 
 receive.' 
 
 His form and cause conjoin'd, preaching to stones, 
 Would make them capable. — Hamlet, iii. 4. 
 
 Here " capable," besides the sense of ' able to understand,' includes 
 the sense of ' susceptible,' ' able to feel.' 
 
 I know I love in vain, strive against hope ; 
 Yet, in this captious and intenible sieve, 
 I still pour in the waters of my love, 
 And lack not to lose still. — AlVs W., i. 3. 
 
 Bearing well in mind the various senses in which Shakespeare 
 uses the word "capable," also the possibility that "captious" may 
 bear an included sense as derived from the Latin captiosus, ' deceit- 
 ful' or 'fallacious,' and likewise that " captious " may here be 
 partly intended as a contraction of ' capacious,' we feel that Helena 
 implies in this single sentence the following varied meanings. She 
 figuratively calls the object upon which she profitlessly lavishes her 
 hopeless love a " sieve," that is, capable of receiving but not of 
 holding or retaining : she believes this object to be ' capable of 
 receiving ' love, because he is in her eyes worthy of all love ; she 
 allows that the object of her love is ' fallacious ' to hope and ' deceives ' 
 expectation ; and she asserts it to be ' capacious ' in extent of merit. 
 
 She from whom 
 
 We all were sea-swallow'd, though some cast again ; 
 
 And, by that destiny, to perform an act, 
 
 Whereof what 's past is prologue. — Temp., ii. i. 
 
 Here the word "cast" includes the sense of 'brought up after 
 swallowing,' 'flung ashore,' 'thrown in wrestling,' and 'appointed for 
 a part in a play.' The commentators, who differ as to the sense in 
 which some of Shakespeare's expressions are to be taken — one affirming 
 that he meant this, a second contending that he meant the other, and a 
 third pronouncing that he intended merely to say so and so — seldom 
 seem to perceive his large-minded mode of assembling several sig- 
 nificances in a single concentrated word. 
 
 Romeo is banish'd ; and all the world to nothing. 
 
 That he dares ne'er come back to challenge you. — R. &• jful., iii. 5. 
 
 As the verb " challenge " is here employed, it combines in itself the 
 varied meaning of ' to claim you,' ' to declare you his,' and 'to call you 
 to answer for what you do,' ' to accuse you.' The word is used in both 
 these senses by writers of Shakespeare's time ; and it was his method 
 to include several meanings in one comprehensive expression. 
 
 That is honour's scorn. 
 Which challenges itself as honour's born, 
 And is not like the sire.— All's W., ii. 3. 
 
 Here "challenges," while signifying 'proclaims,' is so judiciously 
 introduced into the sentence as to convey the effect of honour's 
 challenging or provoking confutation, at the same time that it proclaims 
 itself. 
 
 More charming 
 With their own nobleness (which could have turn'd 
 A distaff to a lance), gilded pale looks, 
 Part shame, part spirit renew'd. — Cym., v. 3. 
 
VARIED MEANINGS, &-c. 7% 
 
 " Charming," in the present passage — as in several others written 
 by Shakespeare — combines the sense of ' influencing as by a spell,' 
 ' actuating as by enchantment,' with the sense of ' enchanting,' ' pre- 
 possessing,' ' attractive.' 
 
 He '11 call you to so hot an answer for it, 
 
 That caves and womby vaultages of France 
 
 Shall chide your trespass, and return your mock 
 
 In second accent of his ordnance. — H. V., ii. 4. 
 Inasmuch as Shakespeare elsewhere uses " chides " and " chiding " 
 to express a peculiarly characterised sound, he here uses "chide" to 
 express ' resound,' ' re-echo,' as well as ' rebuke,' ' reprove.' 
 
 The count is neither sad, nor sick, nor merry, nor well ; but civil, count, — civil as an 
 orange, and something of that jealous complexion. — M. Ado, ii. i. 
 
 Into the witty Beatrice's mouth has Shakespeare put an epithet here, 
 which, besides a quibble on "civil" and 'Seville,' includes a gibe at 
 Claudio's being sour and bitter, and sweet, like the fruit in question ; at 
 his being ' courteous and polite ' though with a touch of crabbedness ; 
 at his being ' meek and mild ' though grumpy withal ; and at his being 
 ' sober and grave ' while the others are merry : because in all of these 
 senses has the poet used this word " civil " elsewhere. 
 
 For 't must be done to-night. 
 And something from the palace ; always thought 
 That I require a clearness : and with him 
 (To leave no rubs nor botches in the work) 
 Fleance his son, that keeps him company. 
 Whose absence is no less material to me 
 Than is his father's, must embrace the fate 
 Of that dark hour. — ilacb., iii. i. 
 
 " Clearness," as here used, implies both that the speaker requires he 
 should be kept clear from suspicion, and that he requires neatness and 
 completeness in the deed undertaken. 
 
 Love's feeling is more soft and sensible 
 
 Than are the tender horns of cockled snails. — Love's L. L., iv. 3. 
 
 The term here italicised comprises the double meaning of ' shelled,' 
 like a cockle-fish, and of ' spiral-formed,' from the Latin cochlea, a 
 screw. 
 
 Cry to it, nuncle, as the cockney did to the eels when she put 'em i' the paste alive. — 
 Lear, ii. 4. 
 
 " Cockney " was formerly used both for a ' ninny ' and for a ' cook ' ; 
 while Shakespeare, in the present passage, includes reference to both 
 these meanings. 
 
 He employs it in one other passage only (" Twelfth Night," act iv., 
 sc. i) ; but there he employs the epithet more according to the sense it 
 bears at present — as a terra of contempt for a simpleton bom and bred 
 in the metropolis, bigoted to its ways, and knowing nothing beyond 
 them. 
 
 For in that sleep of death what dreams may come, 
 When we have shuffled off this mortal coil. 
 Must give us pause. — Hamlet, iii. i. 
 
 By introducing the word " coil" in this sentence, the poet not only 
 allows it to bear the sense it then bore of ' tumult,' ' bustle,' ' worry,' 
 
 3 E 
 
786 THE SHAKESPEARE KEY. 
 
 ' turmoil,' ' tuss,' but he permits it to poeticallj' convey the effect of 
 that which oppressively encircles, like a coil of heavy rope or the coil 
 of a serpent around its prey. 
 What is your will ? — 
 
 That I may compass yours. — Tmo G. of V., iv. 2. 
 Shakespeare elsewhere uses " compass " as ' achieve ' is used ; to 
 express either ' gain,' * obtain,' ' acquire,' or ' perform,' 'fulfil,' 'com- 
 plete ' : therefore here the speaker is made to infer that he wishes both 
 to gain a knowledge of Silvia's will, and to perform its behests. 
 
 Gentlemen, you are welcome to Elsinore. Your hands, come : the appurtenance of 
 welcome is fashion and ceremony : let me comply with you in this garb. — Hamlet, ii. 2. 
 
 He did comply with his dug, before hesucked it. — Ibid., v. 2. 
 
 In both the above passages, Shakespeare uses the word " comply " 
 inclusively ; he gives it its more usual sense, ' to be complaisant, 
 obsequious, or deferential to ' ; and also a sense which it formerly bore 
 of ' enfold,' ' embrace,' ' caress,' ' fondle.' 
 
 Three thousand ducats, due unto the Jew, 
 
 We freely cope your courteous pains withal. — Mer. of V., iv. i. 
 
 Since Shakespeare elsewhere uses the word " cope" to express ' en- 
 counter,' or 'meet in interchange of word or deed ' ; since one of the 
 original meanings of the word is ' a covering for the head ' ; and since 
 there is an old verb, ' to cope, cowp, chap, or buy ' — his employment of 
 " cope " in the present passage allows the line to combinedly express, 
 ' We freely encounter in exchange your courteous pains withal,' ' we 
 freely crown your courteous pains withal,' and ' we freely reward (or 
 purchase) your courteous pains withal.' 
 
 Thou know'st that Banquo, and his Fleance, lives. — 
 But in them nature's copy 's not eterne. — Macb., iii. 2. 
 
 Here " copy " not only means ' example ' or 'specimen ' of humanity, 
 but includes reference to the technical legal term for a ' lease ' held by 
 copyhold tenure; in which the tenant holds an estate /oj- Zj/e merely, 
 and not in perpetuity. 
 
 I take him to be a soul of great article ; and his infusion of such dearth and rareness, 
 as. — Hamlet, v. 2. 
 
 Here dearth includes the sense of ' dearness,' ' value,' as well as that 
 of ' scarcity' ; and may have been pronounced deerth. 
 
 Therefore these stops of thine fright me the more ; 
 For such things in a false disloyal knave 
 Are tricks of custom; but in a man that's just 
 They 're close delations, working from the heart. 
 That passion cannot rule. — 0th., iii. 3. 
 
 " Delations," as here used by Shakespeare, combines in itself the 
 two several meanings which it bore in his time, of something accused, 
 and something carried or conveyed ; so that by employing the expres- 
 sion "close delations" he signifies 'secret accusations,' 'inwardly 
 conceived impugnings,' ' quietly conveyed intimations.' 
 
 Let me yet know of you whither you are bound. — No, sooth, sir ; my determinate 
 voyage is mere extravagancy. — Tw. N., ii. i. 
 
 In the word " determinate," Shakespeare here blends the two mean- 
 ings of ' determined upon,' and ' wherein terminating ' ; and in the word 
 
VARIED MEANINGS, &-c. 787 
 
 "extravagancy" he blends the two meanings of 'wandering' and 
 'vacillation.' 
 
 I purpose not to wait on fortune till 
 These wars determine. — Coriol., v. 3. 
 
 The last word, as here employed, gives the inclusively large meaning 
 of ' end,' ' conclude,' ' terminate,' and also ' decide,' ' resolve the point 
 at issue.' 
 
 I, after him, do after him wish too, 
 
 Since I nor wax nor honey can bring home, 
 
 I quickly were dissolved from my hive, • 
 
 To give some abourers room. — All's W., i. 2. 
 
 The word " dissolved " is here most elegantly and Shakespearianly 
 used ; conveying, as it does, the idea of the speaker's being melted 
 away from his waxen cell of life, and subjected to dissolution or death. 
 
 Then in my tent, Cassius, enlarge your griefs. — ytil. C, iv. 2. 
 By the mode in which our author has here introduced the word 
 " enlarge," it combines the senses it bears in both the familiar expres- 
 sions, ' to enlarge upon a theme,' and ' to enlarge a prisoner.' 
 
 This ensign here of mine was turning back ; 
 
 I slew the coward, and did take it from him. — Ibid., v. 3. 
 
 Shakespeare has here availed himself of the then mode of employing 
 " ensign " both for a ' standard ' and a ' standard-bearer,' by making it 
 succinctly serve a double purpose in this sentence. 
 
 Thy life is dear ; for all, that life can rate 
 
 Worth name of life, in thee hath estimate. — All's W., ii. i. 
 
 By his employment of the word " estimate " here, Shakespeare has 
 given the duplicate effect to the sentence of ' in thee may be reckoned,' 
 and ' in thee hath estimable existence.' 
 
 \_See Note upon the word " even " (page 498) under Parts of Speech 
 Diversely Used.] 
 
 And his honour 
 Clock to itself, knew the true minute when 
 Exception bid him speak. — Ibid., i. 2. 
 
 The word " exception " is employed here with comprehensive force ; 
 including both its meanings of ' offence ' and of ' a case specially ex- 
 cluded from a general rule.' It represents that against which the person 1 
 alluded to took exception, rousing him to speak sharply, and the excep- 
 tional case which urged him to do so. Now, when we use ' exception' 
 in the sense of ' offence,' ' cavil,' or ' objection,' we use with it the 
 words ' take ' and ' against ' (to take exception against a thing or 
 person) ; but in Shakespeare's mode of introducing an expressive word 
 in an elliptically constructed sentence, he often employs it so as to give 
 its effect without accompanying it by its usual concomitants. 
 
 The grave doth gape, and doting death is near ; 
 Therefore exhale. — H. V., ii. i. 
 
 Pistol is here made, in one significant word, to bid Nym ' hale,' 
 ' haul,' ' lug,' or ' draw out your weapon,' and also, ' breathe out your 
 last breath.' 
 
 3 E 2 
 
788 THE SHAKESPEARE KEY. 
 
 Captain Jamy is a marvellous falorous gentleman, that is certain ; and of great 
 expedition and knowledge in the auncient wars, upon my particular knowledge of his 
 directions : he will maintain his argument as well as any military man in the 'orld, in 
 the disciplines of the pristine wars of the Romans. — H. V., iii. 2. 
 
 Into Fluellen's mouth, the dramatist has characteristically put a word 
 that (as derived from the Latin expedire ; one of the senses of which 
 is, ' to show,' ' declare,' ' set forth in speech ') signifies ' power of 
 expounding,' and also signifies ' readiness,' ' expertness.' 
 
 Exchange me for a goat. 
 When I shall turn the business of my soul 
 Td such exsufflicaie and blown surmises. 
 Matching thy inference, — Oih., iii. 3. 
 
 The Shakespearian word, " exsufflicate," as traced to the low Latin 
 exsufflare, ' to spit down upon,' which was an ancient form of exorcising, 
 implies 'despicable,' 'contemptible,! 'abhorrent,' 'repudiated'; as 
 having affinity with the Italian suffolare, to 'whisper,' it implies 
 ' whispered,' ' breathed ' ; and as possessing some resemblance to 
 ' sufBation ' (which means ' a puffing up,' 'a making to swell with 
 blowing '), it implies ' puffed up,' ' blown out,' ' exaggerated,' ' extrava- 
 gant ' : so that we take the expression, as here used, to include some- 
 thing of all these significations. 
 
 And what art thou, thou idol ceremony ? . . . 
 . . . No, thou proud dream. 
 That play'st so subtly with a king's repose : 
 I am a king that/nd thee. — H. V., iv. i. 
 
 Here, besides its sense of ' meet with,' 'possess,' the word "find" 
 comprises that of 'find out,' 'see through,' 'discover the veritable 
 quality of,' ' penetrate the true essence of.' 
 
 They flattered me like a dog ; and told me I had white hairs in my beard ere the 
 black ones were there. — Lear, iv. 6. 
 
 The word "flattered" here includes two of the senses which the 
 French -verh flatter bears, 'to fawn upon' as a dog does, and 'to stroke' 
 as one strokes a dog ; besides conveying its usual meaning of ' to 
 praise or compliment falsely.' 
 
 Observe how Antony becomes his flaw. 
 
 And what thou think'st his very action speaks 
 
 In every power that moves. — Ant. &• C, iii. 10. 
 
 " Flaw " is here employed with double force, to express ' breach of 
 fortune,' 'cracked fortune,' as well as 'tempest of fortune,' ' storm of 
 
 fortune.' 
 
 Do faithful homage, and receive /r«e honours; 
 All which we pine for now. — Macb., iii. 6. 
 
 By the mode in which he has used the word "free" here, Shakespeare 
 gives the phrase inclusively to imply, ' free from pollution in the hand 
 that confers these honours,' ' free from the taint of servility in us that 
 accept them,' and ' free from fear and constraint in their possession.' 
 
 Nay, but I bar to-night : you shall not gage me 
 By what we do to-night. — Mer. of V., ii. 2. 
 
 He uses "gage" here not only in the sense of 'engage,' 'limit,' 
 ' confine,' ' restrain,' ' restrict,' but also (as if it were spelt ' gauge ') in 
 the sense of 'judge,' ' measure,' ' estimate.' 
 
VARIED MEANINGS, Syc. 789 
 
 Behold the ordnance on their carriages, 
 
 With fatal mouths gaping on girded Harfleur. — H. V., iii. [Chorus). 
 
 The poet, by his introduction of this word in the present passage, 
 gives both picture and sound to the imagination. In his time, "gaping," 
 besides meaning ' wide open,' meant ' bawling,' ' roaring,' ' noisy,' 
 ' loud ' ; therefore he causes us not only to see the wide-stretched jaws 
 of the monster cannon, but to hear their roar. 
 
 Between the acting of a dreadful thing 
 And the first motion, all the interim is 
 Like a phantasma, or a hideous dream : 
 The Genius and the mortal instruments 
 Are then in council; and the state of man, 
 Like to a little kingdom, suiTers then 
 The nature of an insurrection. — yul. C, ii. i. 
 
 According to our poet's grandly inclusive style, the word " Genius " 
 here signifies both the Christianly understood ' soul ' and the paganly 
 understood attendant 'spirit'; while "mortal instruments " comprise 
 the signification of both ' natural passions ' and ' bodily powers.' 
 
 Now we'll together ; and the chance of goodness 
 Be like our warranted quarrel ! — Macb., iv. 3. 
 
 Inasmuch as Shakespeare occasionally employs "goodness" to 
 express ' propitiousness,' ' favour' [See Peculiar Use of Words], and 
 in some other cases to express 'justice,' the above sentence gives the 
 bifold effect of ' May the chance of favourable issue be as great as the 
 warrant for our contest ! ' and ' May our chance of justice be great as 
 the justice of our cause ! ' 
 
 Dry up thy marrows, vines, and plough-torn leas ; 
 Whereof ingrateful man, with liquorish draughts 
 And morsels unctuous, greases his pure mind. 
 That from it all consideration slips! — Timon, iv. 3. 
 
 By the single word " greases " here, Shakespeare condensedly 
 expresses ' pollutes,' ' renders gross,' no less than ' clogs as with fat,' 
 and ' imparts a smeary surface to ' ; so that by one felicitously em- 
 ployed verb, he presents the idea that over-eating-and-drinkihg sullies 
 the mind, impedes its action, and deprives it of power to retain its 
 thinking faculty. 
 
 Green, indeed, is the colour of lovers. — Love's L. L., i. 2. 
 
 It has been maintained that by " green " here is intended either an 
 allusion to jealousy, or to green-hued eyes, or to the willow, as the 
 badge of unsuccessful love. But we believe that here the poet, 
 according to his frequent wont, included very many other allusions in 
 the epithet he employs in this passage. " Green " has sometimes 
 been used as an emblem of ' hope ' ; and thus is suitable for favoured 
 lovers. " Green " has occasionally been made significant of ' desertion ' ; 
 and is therefore applicable to forsaken or rejected lovers. " Green " is 
 used by Shakespeare, as well as by other writers of his time, as a 
 synonym for ' pale ' and ' sickly ' ; therefore is appropriate for forlorn 
 lovers and love-sick persons. " Green " is emblematic of youth and 
 spring, the season of lovers ; and " green " is often used, even to this 
 day, as a term for ' inexperienced,' ' unripe in judgment,' ' immature,' 
 'raw,' which applies to novices in love. 
 
790 THE SHAKESPEARE KEY. 
 
 The satirical rogue says here, that old men have grey beards ; that their faces are 
 wrinkled ; their eyes purging thick amber and plum-tree gum ; and that they have a 
 plentiful lack of wit, together with most weak hams : all of which, sir, though I most 
 powerfully and potently believe, yet I hold it not honesty to have it thus set down. — 
 Hamlet, ii. 2. 
 
 " Honesty," as here used, besides including one of the senses in 
 which the French use their word honnetete, 'politeness,' ' civiHty,' 
 ' courtesy,' ' decorum,' also comprises the English meaning of ' truth,' 
 ' candour.' 
 
 The youngest son of Priam, a true knight ; 
 
 Not yet mature, yet matchless : firm of word ; 
 
 Speaking in deeds, and deedless in his tongue ; 
 
 Not soon provok'd, nor, being provok'd, soon calm'd: 
 
 His heart and hand both open, and both free ; 
 
 For what he has he gives, what thinks he shows ; 
 
 Yet gives he not till judgment guide his bounty, 
 
 Nor dignifies an impair thought with breath. — Tr. &• Cr., iv. 5. 
 
 The fact that there have been proposals to alter the word " impair " 
 here, and substitute the word " impure," appears to us to have arisen 
 from failure in perceiving Shakespeare's mode of using expressions 
 that combine several meanings in one word. As derived from the 
 Latin impar, our poet's expression "impair" signifies 'unequal,' 
 ' unsuitable,' ' unbefitting,' ' unworthy ' ; as derived from the Latin 
 imparatus, " impair " signifies ' unprepared,' ' unready,' or ' perplexed,' 
 'entangled'; and as used (substantively) by Ben Jonson.by Chapman, 
 and by Brown, "impair" (adjectively used) signifies 'injurious,' 
 ' impairing,' ' deteriorating,' ' detractive.' Now we conceive that our 
 author intended to blend somewhat of all the above meanings into the 
 single epithet " impair " as above employed by him ; and, to change 
 it for another, would be not only to deprive the passage of its full 
 intended force, but it would be to banish from our language a compre- 
 hensive adjective framed for us by a most original-minded writer. 
 
 The lines of my body are as well-drawn as his ; no less young, more strong, not 
 beneath him in fortunes, beyond him in the advantage of the time, above him in birth, 
 alike conversant in general services, and more remarkable in single oppositions : yet 
 this imperseverant thing loves him in my despite. — Cym., iv. i. 
 
 The word here used comprises the sense of ' undiscerning,' ' un- 
 perceiving' (as though it were spelt ' imperceiverant'), and also the 
 sense of ' obstinately persevering,' or ' excessively persevering.' [See 
 Pronunciation.] 
 
 Youth no less becomes 
 The light and careless livery that it wears. 
 Than settled age his sables and his weeds. 
 Importing health and graveness. — Hamlet, iv. 7. 
 
 Here importing is used with double significance : it means ' of im- 
 portance to,' in its reference to "health"; and it means 'implying,' in 
 its reference to " graveness." 
 
 Peace, children, peace ! The king doth love you well ; 
 
 Incapable and shallow innocents. 
 
 You cannot guess who caus'd your father's death. — R. III., iii. 3. 
 
 Here he employs " incapable " to express ' unable to understand,' 
 ' unconscious,' as well as ' helpless.' 
 
VARIED MEANINGS, &-c. jai 
 
 Thou, 
 Conspir'd with that irregulous devil, Cloten, 
 Hast here cut off my lord. — Cym., iv. 2. 
 
 The word " irregulous " has not been met with in any other author ; 
 and we take it to have been invented by Shakespeare to combine the 
 senses of ' irregular,' ' disorderly,' ' lawless,' ' licentious,' as well as of 
 'anomalous,' 'mongrel,' 'monstrous,' 'out of ordinary rule in every 
 way.' 
 
 I was not made a horse ; 
 And yet I bear a burden like an ass, 
 Spur-gall'd and tir'd hy jauncing Bolingbroke. — R. II., v. 5. 
 
 Besides its meaning of 'hard-riding,' 'rough-riding,' which "jauncing" 
 bears as derived from the old French verb jancer (which Cotgrave ex- 
 plains, " To stir a horse in the stable till he sweat withal"), the epithet 
 here applied to Bolingbroke admits the additional sense of ' ostenta- 
 tiously airy,' ' showily at ease,' as conveyed by the familiar word 
 'jaunty.' 
 
 And hope to joy is little less in joy. 
 Than hope enjoy 'd. — Ibid., ii. 3. 
 Here "to joy" is made to include both its senses of ' to be glad,' and 
 ' to enjoy.' 
 
 His last offences to us 
 Shall have judicious hearing. — Coriol., v. 5. 
 
 As Shakespeare here employs the word "judicious," it comprises 
 the meanings of 'just,' 'skilful in judgment,' and 'judicial'; "judi- 
 cious" and 'judicial' having frequently been used formerly the one 
 for the other. 
 
 I have a kind soul that would give you thanks, 
 
 And knows not how to do it but with tears. — jfohn, v. 7. 
 
 " Kind," as here used, includes the several meanings of ' kindly' or 
 ' tenderly disposed,' of ' kindred in feeling with that which you express . 
 towards me,' and of 'touched with natural emotion.' 
 
 Sweet king ! the bishop hath a kindly gird. — i H. VI., iii. i. 
 
 Here, " kindly" includes the meaning of ' mild,' or ' gentle,' of ' be- 
 fitting from one kinsman to another,' and of ' akin to the question in 
 
 hand.' 
 
 Yet, in this captious and intenible sieve, 
 I still pour in the waters of my love, 
 And lack not to lose still. — All's W., i. 3. 
 
 By the mode in which "lack" is used in this sentence, it not only 
 gives the sense of ' And am not without more love in reserve to go on 
 losing,' but also, ' And fail not to lose still.' 
 
 Pardon me, Julius ! Here wast thou bay'd, brave hart ; 
 
 Here didst thou fall ; and here thy hunters stand, 
 
 Sign'd in thy spoil, and crimson'd in thy lethe. — ynl. C, iii. i. 
 
 Here "lethe" has, by Shakespeare's inclusive mode of using a 
 word, the triple poetical meaning of the term as derived from the 
 Latin lethum, 'death' (pronounced monosyllabically) , of the term as 
 used by hunters to signify the blood shed by a deer at its fall, and as a 
 classical term applied to the waters of oblivion ; thus causing it con- 
 densedly to express ' death-blood,' 'death-stream,' or 'death-flood.' 
 
792 THE SHAKESPEARE KEY. 
 
 Yet I have not seen 
 So likely an embassador of love. — Mer. of V., ii. g. 
 
 The word " likely," as here employed, comprises the double sense of 
 ' probable' and ' pleasing.' 
 
 You know my father left me some prescriptions 
 Of rare and prov'd effects, such as his reading 
 And manifest experience had collected 
 For general sovereignty. — All's W., i. 3. 
 
 " Manifest," as an epithet applied to " experience " in this passage, 
 gives the comprehensive effect of ' experience that made manifest 
 certain facts to his own iriind,' ' experience that manifested itself in its 
 results,' and ' experience that he vsfas manifestl}- known to possess.' 
 Moreover, so ingeniously is the epithet here introduced, that it almost 
 conveys the additional effect of ' practical experience ' ; especially, when 
 we regard the word " manifest" in its original acceptation, as derived 
 from the Latin — that which is palpable to the hand. 
 
 Well, niece, I hope to see you one day fitted with a husband. — Not till God make 
 men of some other metal than earth. Would it not grieve a woman to be over- 
 mastered viith a piece of valiant dust ? to make an account of her life to a clod of way- 
 ward marl ? — M. Ado, ii. i. 
 
 By the selection of this name for a peculiar kind of clayey earth, and 
 causing the insolently witty Beatrice to use it as a type of husbandhood, 
 the dramatist has caused her not only to hint at the ' obstinacy ' and 
 ■ ' unyieldingness,' which she assumes to be properties of manly nature, 
 but also contemptuously by implication to call it manure ; since Bacon, 
 in his Natural History, says, " Marl is the best compost." 
 
 And do not stand on quillets how to slay him : 
 
 Be it by gins, by snares, by subtlety. 
 
 Sleeping or waking, 'tis no matter how. 
 
 So he be dead ; for that is good deceit 
 
 Which mates him first that first intends deceit. — 2 H. VI., iii. i. 
 
 Here "mates" signifies not only 'to confound,' 'to destroy,' but also 
 'to circumvent,' 'to defeat by stratagem,' as the word is used in the 
 terms ' check-mate ' and ' stale-mate,' technically belonging to the game 
 of chess. 
 
 As for my country I have shed my blood. 
 Not fearing outward force, so shall my lungs 
 Coin words till their decay against those meazels, 
 Which we disdain should tetter us, yet sought 
 The very way to catch them. — CorioL, iii. i. 
 
 Coriolanus is here made to use the expression "meazels " both in its 
 sense of 'lepers' and of 'leprosies'; thus by one significant word, 
 hurling contemptuous defiance at the men he is abusing, and scorning 
 the diseases which he affects to think he may catch from them. 
 
 What a wretched and peevish fellow is this king of England, to mope with his fat- 
 brained followers so far out of his knowledge. — H. V., iii. 7. 
 
 Here the word " mope " conveys not only the sense of ' move de- 
 jectedly,' but also the sense of ' wander blindly ' ; because the old 
 compound term, mope-eyed (as derived from the Greek original of 
 myopy, 'shortsightedness') signified 'half-blind,' ' purblind. 
 
VARIED MEANINGS, &-c. 793 
 
 Strike, you slave ; stand, rogue, stand ; you neat slave, strike. — Lear, ii. 2. 
 The epithet " neat," here apphed by Kent to the object of his wrath 
 and scorn, possesses comprehensive force of allusive signification. It 
 signifies 'spruce,' 'dapper,' 'cleanly,' in allusion to the steward's 
 being a " glass-gazing, finical rogue " ; it signifies ' unclean,' like 
 black or ' neat cattle ' (from the Saxon neten) ; and it signifies 
 ' villanous,' as referring to the ' neat land,' or terra villanorum, which 
 was land let out to feudal tenants. Thus the word " neat " is largely 
 appropriate for the foppish yet dirtily servile creature, the arrogant yet 
 serf-devoted steward, Oswald. 
 
 So, if the time thrust forth 
 A cause for thy repeal, we shall not send 
 O'er the vast world to seek a single man ; 
 And lose advantage, which doth ever cool 
 I' the absence of the needer. — Coriol., iv. i. 
 
 The closing word of this passage is completely in Shakespeare's com- 
 prehensive style ; including as it does the effect of the man needing the 
 advantage of which there is a prospect, and of the man needed home 
 by his friends who want him to profit by it. 
 
 Therefore, you men of Harfleur, 
 Take pity of your town and of your people. 
 Whiles yet my soldiers are in my command ; 
 Whiles yet the cool and temperate wind of grace 
 O'erblows the filthy and contagious clouds 
 Of heady murder, spoil, and villany. — H. V., iii. 3. 
 Here " o'erblows " is not only used to express ' prevails over,' ' acts 
 controllingly upon,' it also includes the sense of ' disperses ' ; as we 
 say ' the storm is blown over,' for ' the storm is dispersed.' 
 
 Oh, you mighty gods ! 
 This world I do renounce, and, in your sights. 
 Shake patiently my great affliction off : 
 If I could bear it longer, and not fall 
 To quarrel with your opposeless wills. 
 My snuff and loathed part of nature should 
 Burn itself out. — Lear, iv. 5. 
 The epithet " opposeless " here conveys the combined effect of ' use- 
 less to oppose,' and ' ought not to be opposed.' 
 
 This orient pearl. — Ant. &• C, i. 5. 
 As an epithet applied to a "pearl" the word " orient " is doubly 
 appropriate ; since it signifies both ' eastern ' and ' bright.' 
 
 Can such things be. 
 And overcome us like a summer's cloud, 
 Without our special wonder ? — Macb., iii. 4. 
 
 "Overcome us" here, besides the effect of 'pass over us,' also 
 implies ' subdue our spirits,' ' impress our senses,' as a sudden dark 
 cloud overspreading the summer sky would do. 
 
 Come, thou monarch of the vine, 
 
 Plumpy Bacchus with^j'nA eyne! — Ant.S- C, ii. 7 [Song). 
 
 In the expressions ' pink-eyed ' and ' pink-sterned ' as applied to eyes 
 and to ships, the word " pink " signified ' small,' ' little,' ' narrow' ; but 
 by using the term "pink eyne" in reference to Bacchus, the poet 
 combines the effect of eyes not only half closed, but also reddened by 
 inebriation. 
 
794 THE SHAKESPEARE KEV. 
 
 Be pilot to me, and thy places shall 
 Still neighbour mine. — W. T., i. 2. 
 
 The word " places," as here used by King Polixenes, combines the 
 
 meaning of position as to fortune, and spot wherein to dwell ; since we 
 
 subsequently find that the speaker confers manifold dignities and 
 
 honours upon Camillo, and keeps him ever near to himself in Bohemia. 
 
 Were you sent hither to praise me ? — Tw. N., i. 5. 
 
 Here the word " praise " is made playfully to combine the meanings 
 of ' extol ' and of ' appraise '; as if written, 'praise. 
 
 And fortune, on his damned quarry smiling. — Macb., i. 2. 
 
 " Quarry" having been a technical term of the chase, applied both to 
 a heap of slaughtered game and to the offal portion of the venison just 
 killed, which was thrown to the hounds, the poet here employed the 
 word inclusively to express those who were already doomed to become 
 ' a heap of slain ' and ' a heap of carrion.' 
 
 Plantagenet doth quit Plantagenet, 
 
 Edward for Edward pays a dying debt. — R. III., iv. 4. 
 
 The verb " quit " here comprehensively expresses both ' requite the 
 death of and '■acquit the crime of.' 
 
 Their eyes o'ergalled with recourse of tears. — Tr. &• Cr., v. 3. 
 " Recourse," as here used, includes the sense of ' repeated flowing,' 
 ' recurrence,' ' recoursing,' and the sense of ' access,' ' repair thither,' 
 ' frequent resort.' 
 
 What should it be that he respects in her, 
 
 But I can make respective in myself. — Two G. of V., iv. 4. 
 
 Julia uses the expression "respective" to imply ' worthy of being 
 regarded,' and ' of relative worth to what is beautiful in Silvia.' 
 
 Now, by this hand, I gave it to a youth, — 
 
 A kind of boy ; a little scrubbed boy, 
 
 No higher than thyself, the judge's clerk. — Mer. of V., v. i. 
 
 The italicised epithet combines the sense of ' stunted,' ' stubbed,' or 
 ' stubby,' like a dwarf tree or shrub (' shrub ' and ' scrub ' being at one 
 time used synonymously; witness the name of 'Wormwood Scrubs,' 
 which was originally a place covered with low shrubs or brushwood), 
 and the sense of ' scrubby,' ' contemptible,' ' pitiful,' ' shabby.' 
 
 You gentle gods, give me but this I have, 
 And sear up my embracements from a next 
 With bonds of death ! — Cym., i. 2. 
 
 "Sear" in this passage expresses inclusively the dry withering of 
 death, as well as the closing with wax by those " bonds of death,'' 
 cerecloths, sometimes written searecloths. 
 
 And who in want a hollow friend doth try, 
 
 Directly seasons him his enemy. — Hamlet, iii. 2. 
 
 Shakespeare here uses the word "seasons" not only to express a 
 sense in which he sometimes uses it, 'tempers,' ' moulds,' but also to 
 express ' inures,' ' habituates,' ' accustoms to become.' 
 
 But is there any else longs to see this broken music in his sides ? — As You L., i. 2. 
 
 Rosalind here employs the verb " see " in allusion to witnessing the 
 so-called "sport" as well as to looking at the skill with which the 
 
VARIED MEANINGS, &-c. 795 
 
 wrestler plies his " broken music " of " rib-breaking"; to that she may 
 fairly (in wit-play) apply " see " to hearing a sound. 
 
 Not with fond shekels of the tested gold. — M.for M., ii. 2. 
 Inasmuch as "shekels" meant both a Jewish coin and a Jewish 
 weight, Shakespeare, by using the term here, conveys the idea of minted 
 gold and heavy amount of gold. 
 
 Let's hence, and hear 
 
 How the despatch is made ; and in what fashion. 
 
 More than his singularity, he goes 
 
 Upon this present action. — Coriol., i. i. 
 
 The word " singularity " comprises the meaning of ' individual 
 capacity,' 'special appointment,' and ' peculiarity ' or ' own particular 
 pride of disposition.' 
 
 We '11 make you some sport with the fox, ere we case him. He was first smoked by 
 the old lord Lafeu : when his disguise and he is parted, tell me what a sprat you shall 
 find him.— All's W., iii. 6. 
 
 By employing the word " smoked " in this passage, Shakespeare has 
 contrived to combine suggestion of analogy with the " case " or skin, 
 implication of the ' smoke-dried' fish that turns out to be a " sprat," 
 besides inference of the trackihg out by scent which agrees with "fox," 
 and which furnishes the jocose verb for ' finding out a pretender,' that 
 is still in familiar use. 
 
 For life, I prize it as I weigh grief, which I would spare. — W- T., iii. 2. 
 
 " Spare " is here used partly in its sense of ' part with,' ' do without,' 
 ' let go ' ; partly in its sense of ' forbear from destroying,' or ' shield 
 from destruction ' ; partly in its sense of ' avoid encountering ' ; so that 
 the whole sentence conveys to our mind the inclusive meaning : ' I 
 estimate life as I estimate grief — things that I could willingly part 
 with ; while the one I would avoid destroying, and the other I would 
 avoid encountering.' 
 
 Here 's a stay, 
 That shakes the rotten carcase of old Death 
 Out of his rags ! — jfohn, ii. 2. 
 
 By the term " stay," banteringly applied by Faulconbridge here to 
 the Citizen of Anglers, the speaker not only calls him a ' restraint ' or 
 ' prudent restrainer ' (in reference to the Citizen's having previously 
 said: " Hear us, great kings, vouchsafe awhile to stay," that is, 'to re- 
 strain yourselves,' 'to hold your hands,' ' to forbear') ; but he also, by 
 this term, calls him ' a prop,' ' a support,' since Shakespeare elsewhere 
 (and in this very plaj') uses " stay " in the latter sense. 
 
 Rather proclaim it, Westmoreland, through my host. 
 That he which hath no stomach to this fight. 
 Let him depart. — H. V., iv. 3. 
 
 "Stomach" is here used in its combined sense of 'appetite' or 
 ' inclination,' and of ' courage ' or ' valour.' 
 
 To satisfy. 
 If of my freedom 'tis the main part, take 
 No stricter render of me than my all. — Cym., v. 4. 
 
 Here, " no stricter," besides meaning ' no more restricted,' ' no more 
 limited,' ' no straiter,' ' no narrower,' ' no less,' is also made to include 
 the sense of ' no more strictly equivalent.' 
 
796 THE SHAKESPEARE KEY. 
 
 It tutors Nature: artificial strife 
 
 Lives in these touches, livelier than life. — Thnon, i. i. 
 
 By here using the comprehensive word " strife," Shakespeare includes 
 the' sense of Art's contention with Nature to outdo her, the sense of 
 contrast in colours and forms, and the sense of artistic ' striving,' 
 ' endeavour to excel.' 
 
 But he that temper'd thee bade thee stand up, 
 Gave thee no instance why thou shouldst do treason. — H. V., ii. 2. 
 Johnson, in proposing to alter " temper'd " to 'tempted' here, would 
 have substituted a tame and restrictedly significant word for the poet's 
 largely significant expression. By "temper'd" is not only expressed, 
 ' moulded thee to his will,' ' rendered thee fit for his purpose,' ' made 
 thee pliant,' but also is implied ' governed' (as derived from the Latin 
 temperare, one of the senses of which is ' to rule,' ' govern '), and more- 
 over ' brought thee to the requisite degree of callousness,' as metals 
 are brought to a due degree of hardness by tempering. 
 
 And worthier than himself 
 Here tend the savage strangeness he puts on. — Tr. &• Cr., ii. 3. 
 
 " Tend," in the present passage, combines the two senses of ' attend 
 to ' and ' attend upon.' 
 
 Fire answers fire ; and through their paly flames 
 
 Each battle sees the other's umber' d face. — H. V., iv. (Chorus). 
 
 By the finely poetical word " umber'd," as here introduced, the com- 
 .bined effect is produced of ' brownly enshadowed,' being partly framed 
 from the brown colour ' umber,' and partly from ' umbrated,' shadowed. 
 
 And while thou livest, dear Kate, take a fellow of plain and uncoined constancy. — 
 Ibid., V. 2. 
 
 Into this single epithet, which refers to the purity of gold before it is 
 converted into current coin, the poet condenses the various significa- 
 tions of 'genuine,' ' unalloyed,' ' unmade,' ' unput-forth,' ' unprofessed,' 
 ' unprotested.' 
 
 Disguise the holy strength of their command, 
 
 And underwrite in an observing kind 
 
 His humorous predominance. — Tr. &■ Cr., ii. 3. 
 
 "IJnderwrite " is here made to include the double meaning of ' take 
 note of and ' subscribe to' ; the latter bearing the sense of ' submit to,' 
 ' defer to ' ; while "observing " is likewise so employed as to convey 
 the combined signification of ' remarking,' and of ' paying observance to.' 
 
 Oh, undistinguish' d space of woman's will ! 
 A plot upon her virtuous husband's life ; 
 And the exchange, my brother \—Lear, iv. 6. 
 
 By the word " undistinguish'd " here employed, the double sense is 
 given to the sentence of an excess in licentious will too unlimited to be 
 discerned or distinguished, and a will so undistinguishing as to prefer 
 the vicious Edmund to the virtuous Albany. 
 
 The glow-worm shows the matin to be near, 
 
 And gins to pale his uneffectual fire. — Hamlet, i. 5. 
 
 By this epithet the double effect is given of the glow-worm's light 
 shining without giving heat, and no longer showing when morning 
 appears. 
 
VARIED MEANINGS, &-c. 797 
 
 Though there was no great matter in the ditty, yet the note was very untuneahU. — 
 You are deceived, sir: we kept time, we lost not our time. — As You L., v. 3. 
 
 As in Shakespeare's day " untuneable " was sometimes used for ' out 
 of time ' as well as -' out of tune,' Master Touchstone's accusation 
 includes both charges by the word the poet has put into his mouth. 
 Arm, arm, my lord ; the foe vaunts in the field. — R. III., v. 3. 
 
 By the verb " vaunts," the double effect is here produced of ' boasts 
 itself and 'precedes us' ; as derived from the French vanter, to boast, 
 and avant, before. 
 
 He thinks, nay, with all confidence he swears, 
 As he had seen 't, or been an instrument 
 To vice you to 't, that you have touch'd his queen 
 Forbiddenly.— Py. T., i. 2. 
 
 By his formation of the verb to "vice" here, Shakespeare con- 
 densedly expresses the act of ' viciously urges or incites ' ; since he infers 
 the impelling action of a vice by its screw power, and the operation of 
 vice or unvirtuousness. 
 
 Down, down I come; like glistering Phaeton, 
 Wanting the manage of unruly jades. — J?. //., iii. 3. 
 
 " Wanting," as here employed, combines the effect of 'lacking' and 
 ' desiring.' 
 
 No, I will rob Tellus of her weed. 
 
 To strew thy green with flowers. — Per., iv. i. 
 
 " Tellus," being a mythological name for the earth, as a goddess, the 
 word " weed " here includes the double meaning of ' garment ' and 
 'wild-flower.' 
 
 Well, Angelo, your evil quits you well. — M.for M., v. i. 
 This phrase bears comprehensive interpretation ; being equivalent to 
 ' your course of evil leaves you befittingly,' ' the fear you have suffered 
 acquits you of your misdeeds,' and ' you receive in requital good for 
 evil.' 
 
 To offend, and judge, are distinct offices. 
 
 And of opposed natures. — Mer. of V., ii. 9. 
 
 This little speech, that Portia utters to herself, contains several 
 meanings. It serves to express that the province of the casket-con- 
 tents is not to give offence, but to pronounce sentence ; it also serves 
 as a rejoinder to the hurt prince's inquiry, by remarking that to be 
 wanting in desert and wanting in judgment are two different things ; 
 and it promulgates a maxim in English law which prohibits a man from 
 being a judge in his own cause, or in a cause wherein he is interested 
 — thus again, in still another sense, serving as a comment upon what 
 the Prince of Arragon has just said. 
 
 Wear this for me, one out of suits with Fortune, 
 
 That could give more, but that her hand lacks means. — As You L., i. 2. 
 By this phrase, Shakespeare combines many metaphorical allusions ; 
 for it may be taken as implying, ' deprived of Fortune's livery or badge,' 
 ' not in accord or unsuited with Fortune,' ' unpossessed of the trump- 
 suits in Fortune's cards,' and ' out of favour with Fortune.' 
 
 The common executioner. 
 
 Whose heart the accustom'd sight of death makes hard. 
 
 Falls not the axe upon the humbled neck 
 
798 THE SHAKESPEARE KEY. 
 
 But first begs pardon : will you sterner be 
 
 Than he that dies and lives by bloody drops ? — As You L., iii. 5. 
 
 The phrase "dies and lives by," taken connectedly, implies 'con- 
 tinues to the end of his life familiar with ' ; but, taken separately, 
 signifies ' stains his hands in, and gains his living by.' Those com- 
 mentators who will not, or cannot, perceive Shakespeare's extremely 
 inclusive style, are always contending that he means this or he means 
 that, by a phrase ; whereas, in most cases, he includes both meanings. 
 
 Impossible be strange attempts to those 
 
 That weigh their pains in sense. — All's W., i. i. 
 
 By this sentence Shakespeare condensedly expresses two significa- 
 tions : ' those persons who estimate the pains they take by the amount 
 of trouble and suffering involved,' and ' those persons who calculate the 
 difficulties of their " strange attempts " (' unusual undertakings ') by 
 ' reason and common-sense probability of success.' 
 
 My life upon 't, young though thou art, thine eye 
 Hath stay'd upon some favour that it loves ; — 
 Hath it not, boy ? — 
 
 A little, by your favour. — Tw. N., ii. 4. 
 
 This reply is made by Viola, ostensibly, in the sense of ' A little, by 
 your leave ' ; but she says it, secretly, in the sense of ' I have somewhat 
 allowed mine eye to rest upon your own countenance ' ; including, 
 moreover, ' I have now and then permitted mine eye to dwell upon your 
 face, when favoured by your not observing that I looked at you.' 
 
 Learn this, Thomas, 
 And thou shalt prove a shelter to thy friends ; 
 A hoop of gold to bind thy brothers in, 
 That the united vessel of their blood, 
 Mingled with venom of suggestion 
 (As, force perforce, the age will pour it in). 
 Shall never leak. — 2 H. IV., iv. 4. 
 
 By " the venom of suggestion " is doubly meant the evil temptations 
 that youth meets with, and the poisonous insinuations that may be 
 poured in the future king's ear by those who wish to produce disunion 
 between him and his brothers. 
 
 Piece out our imperfections with your thoughts ; 
 
 Into a thousand parts divide one man. 
 
 And make imaginary puissance. — H. V.,i. (Chorus). 
 This expression may be taken to include the twofold meaning of 
 ' exert your powers of imagination,' and ' create in your imagination a 
 numerous armed force.' 
 
 I do retort the " solus " in thy bowels ; 
 
 For / can take, and Pistol's cock is up, 
 
 And flashing fire will follow. — Ibid., ii. i. 
 
 Mine ancient's menace elliptically comprises the triple sense of ' I 
 can take fire,' ' I can take offence,' and ' I can take a meaning.' 
 Yon island carrions, desperate of their bones, 
 lU-favour'dly become the morning field. — Ibid., iv. 2. 
 
 This phrase succinctly and forcibly conveys the joint signification of 
 ' in desperate condition from their bones starting through their skins,' 
 and ' ready desperately to risk their remaining bones, their mere 
 skeleton.' 
 
VARIED MEANINGS, S-c. 799 
 
 And given unto the house of York such head, 
 
 As thou shalt reign but by their sufferance. — 3 H. VI-, i. i. 
 
 " Given such head," is here idiomatically used for ' given such 
 power,' ' given such dominion ' ; and metaphorically, for ' given such 
 licence,' 'such freedom from restraint': ' to give a horse his head,' sig- 
 nifying ' to let him have his own way.' 
 
 I am the shadow of poor Buckingham, 
 Whose figure even this instant cloud puts on, 
 By darkening my clear sun.—H. VIII., i. i. 
 
 The whole passage has been found difficult of explanation ; and pro- 
 posals have been made for altering it. But we think that the inclusive 
 force of the closing clause of the sentence permits our interpretation 
 of the whole thus: ' I am but the shadow of poor Buckingham, and 
 even my shadowy figure this cloud of misfortune assumes and absorbs 
 into itself, by coming between me and my sun of prosperity, and by 
 extinguishing my light of life for ever. 
 
 Nay, forsooth, my friends. 
 They that must weigh out my afflictions. 
 They that my trust must grow to, live not here. — Ibid., iii. i. 
 
 Here, "weigh out" gives the twofold impression of 'outweigh,' 
 ' counterbalance,' or ' compensate for,' and of ' estimate,' ' judge the 
 weight of.' ' 
 
 The citizens, 
 I am sure, have shown at full their royal minds ; 
 As, Ut 'em have their rights, they 're ever forward 
 In celebration of this day with shows. 
 Pageants, and sights of honour. — Ibid., iv. i. 
 
 Thus used, " let 'em have their rights " bears the double meaning of 
 ' to give them their due,' and ' if they have their rights accorded to 
 them.' 
 
 The purpose is conspicuous even as substance, 
 
 Whose grossness little characters sum up.—Tr. &• Cr., i. 3. 
 
 The last line includes the several meanings of ' the bulk of which is 
 formed by small amounts,' ' which may be calculated by small marks of 
 the pen,' and ' which may be estimated by persons of small intelligence.' 
 
 Like to a lonely dragon, that his fen 
 
 Makes fear'd and talk'dvf more than seen. — Coriol., iv. i. 
 
 The construction of the above sentence allows it to convey two 
 meanings : ' Like a lonely dragon, that his pestilential fen makes 
 feared and talked of more than seen,' and, ' like a lonely dragon that 
 makes his fenny retreat feared and talked of more than seen.' Both 
 meanings apply well to Coriolanus, whose withdrawal to some unknown 
 place causes him to be dreaded and talked of during absence, and whose 
 known fierce nature causes this intended place of retreat to become a 
 subject of fear and wondering conjecture. 
 
 Only make trial what your love can do 
 For Rome, towards Marcius. — Ibid., v. i. 
 
 By the skill with which this phrase is constructed, it may be taken to 
 imply both ' what your love towards Marcius can do for Rome,' and 
 ' what your love can do for Rome, in your advances made to Marcius.' 
 
8oo THE SHAKESPEARE KEY. 
 
 She is the hopeful lady of my earth. — R. &■ jftil., i. 2. 
 As referring to the old French legal term {or heiress, Jille de terre, 
 and because Shakespeare sometimes uses " earth " for ' land' or ' landed 
 possessions,' this line signifies, ' she is the hopeful inheritrix of my 
 landed estates'; but as he employs the word " earth " in the present 
 play to express 'corporeal part,' 'material part,' 'the earthly portion 
 of man,' this line also signifies, ' she is my sole surviving offspring, in 
 whom I have centred all my hopes.' 
 
 Oh, how my heart abhors 
 To hear him nam'd, — and cannot come to him. 
 To wreak the love I bore my cousin Tybalt 
 Upon his body that hath slaughter'd him ! — Ibid., iii. 5. 
 
 This phrase is said with a double sense ; Juliet meaning her mother 
 to understand it as meaning ' to revenge the loss I suffer in the love I 
 bore ' ; and herself really meaning by it, ' to bestow entirely the love 
 I bore.' 
 
 'Tis conceiv'd to scope. — Timon, i. i. 
 
 From the various senses in which Shakespeare elsewhere uses the 
 word " scope," we may conclude that he intended the present phrase to 
 comprise the double meaning of ' it is conceived with large scope or 
 compass of imagination,' and ' it is conceived with apt fulfilment of its 
 purposed scope or drift.' 
 
 There is no time so miserable but a man may be true. — Timon, iv. 3. 
 
 This is one of Shakespeare's crystallised pieces of wit, sparkling with 
 many-sided meanings. The speaker is probably intended to express 
 by it, 'There is no time so miserable but a man may be true to his 
 adopted profession ' (his " trade," his " mystery " — that of thieving !) ; 
 but it also admits of the interpretations, 'there is no time so miserably 
 late but a man may turn honest ' (the word " true " often being used in 
 Shakespeare's time for 'honest'), and ' there is no time so miserable 
 but a man may find consolation in being true to himself and to virtue.' 
 
 Well, to our work alive. — yul. C, iv. 3. 
 
 This phrase, as here introduced, possesses triple signification : ' let us 
 now devote ourselves to the work which we survivors have to do,' ' let 
 us attend to our work that concerns the living,' and ' let us proceed to 
 our work with animation.' 
 
 But now, my cousin Hamlet, and my son— 
 
 A little more than kin, and less than kind. — 
 
 How is it that the clouds still hang on you ? — 
 
 Not so, my lord ; / am too much :' the sun. — Hamlet, i. 2. 
 
 The prince, by this expression, means three things: that he is too 
 much in the glare of his uncle's nuptial festivities so soon after his 
 father's death ; that he has exchanged a righteous condition for a 
 corrupt one (in reference to the old proverb, " out of God's blessing 
 into the warm sun ") ; and that he deplores (by a play on the word) 
 that he has become son as well as nephew to the usurping king, by the 
 hateful marriage of the latter. 
 
VARIED MEANINGS, &-€. 8oi 
 
 Thou mixture rank, of midnight weeds collected. — Hamlet, iii. 2. 
 This phrase gives the double effect of ' collected from midnight weeds,' 
 and ' made of weeds collected or gathered at midnight.' 
 
 To withdraw with you. Why do you go about to recover the wind of me, as if you 
 would drive me into a toil ? — Ibid., iii. 2. 
 
 By the above muttered four words, Hamlet, observing the two spies 
 drawing a little apart to watch and track him, implies not only, ' Now, 
 then, to draw away a little as you do,' but also ' to track you in your own 
 manner'; because elsewhere Shakespeare uses the word "draw" in 
 the sense it bears as a term of the chase for track by the scent, trail, or 
 foot-print of the animal pursued. That this latter meaning is included 
 we think is evidenced by the hunting technicality (" recover the wind ") 
 occurring so immediately after. 
 
 'Tis meet that some more audience than a mother, 
 Since nature makes them partial, should o'erhear 
 The speech, of vantage. — Ibid., iii. 3. 
 
 This expression, besides meaning ' with the advantage of conceal- 
 ment,' ' having the advantage of being hidden,' also includes the sense 
 of ' for the sake of advantage,' ' for future benefit.' 
 
 Your son and daughter /oM«d this trespass worth 
 The shame which here it suffers. — Lear, ii. 4. 
 
 Here the double meaning is implied of, ' found this trespass deserv- 
 ing of the shame which here it suffers,' and ' found it worth while to 
 put me to the shame which I here undergo for this trespass.' 
 
 Dear daughter, I confess that I am old; 
 Age is unnecessary : on my knees I beg 
 That you '11 vouchsafe me raiment, bed, and food. — Ibid., ii. 4. 
 
 This phrase comprises the two significations of ' living to be old is 
 needless,' and ' age needs but the merest necessaries of life.' 
 
 She that herself will sliver and disbranch 
 From her material sap, perforce must wither. 
 And come to deadly use. — Ibid., iv. 2. 
 
 This expression means, literally, ' the sap of the parent tree or 
 trunk ; ' it means, figuratively, ' her own parental blood,' ' the blood of 
 her old father ' ; and it means, elliptically, ' the parent stock which 
 supplies her vital sap.' " Material " has here especial force of apt 
 signification ; materia, in Latin, besides signifying ' material,' ' matter,' 
 ' substance,' also signifying ' timber,' ' wood,' ' the trunk of a tree.' 
 
 Oh, then it mov'd her. — 
 
 Not to a rage : patience and sorrow strove 
 
 Who should express her goodliest. You have seen 
 
 Sunshine and rain at once : her smiles and tears 
 
 Were like a better way. — Ibid., iv. 3. 
 
 This phrase (which has been variously altered by various emendators) 
 is, as it stands, thoroughly Shakespearian in its inclusive mode of 
 referring to two clauses of the speech ; it implies ' her mingled "smiles 
 and tears " expressed her feelings in a better way than either 
 "patience" or "sorrow" could do separately,' and it also implies, 
 'her "smiles and tears" showed that she was " mov'd," "not to a 
 rage," but to a better way of expressing her deep feeling.' 
 
 3 F 
 
8o2 THE SHAKESPEARE KEY. 
 
 Cassio's a proper man ; let me see now; 
 
 To get his place, and to plume up my laill 
 
 In double knavery. — 0th., i. 3. 
 In the mouth of lago, this expression has varied significance of 
 effect; as if any project that involved reduplication of knavery vi^ere 
 a feather in the cap of his depraved will — a thing to plume him- 
 self upon as a feat of intellectual volition — and as if, moreover, 
 he meant to give wings of speed to his purpose by investing it with 
 twin wickednesses, and to dress it up finely in the plumage of trickery. 
 So suggestive and inclusive are the words Shakespeare chooses, that a 
 crowd of images are presented to the mind by their expressive con- 
 ciseness. 
 
 Eternity was in our lips and eyes, 
 
 Bliss in our brows' bent. — Ant. &• C, i. 3. 
 This phrase comprises the sense of ' the arched curve of our eye- 
 brows,' ' the bending of our brows in expressive mobility,' and ' the half 
 frown of our brows when knit in sudden anger.' Cleopatra, in these 
 five little words, reminds Antony of the rapture he has felt at every 
 varying turn of those ilexile and bewitching brows of hers. 
 
 Oh, my oblivion is a very Antony, 
 And I am all forgotten. — Ibid., i. 3. 
 
 This combines the double sense of ' I am entirely forgotten ' and ' I 
 am thoroughly forgetful.' 
 
 Why should excuse be born or e'er begot ? — Cym., iii. 2. 
 This phrase means not only ' Why should excuse be framed before 
 the act is done for which excuse will be necessary ? ' it also means 
 ' Why should excuse be born or ever be begotten ? ' ' Why should 
 excuse be made or ever be conceived ? ' It is characteristic of the 
 noble-souled Imogen that she should deplore the necessity for excuse, 
 — the next thing to deception. 
 
 Now, if you could wear a mind 
 
 Dark as your fortune is, and but disguise 
 
 That which, to appear itself, must not yet be 
 
 But by self-danger, you should tread a course 
 
 Pretty and full of view ; yea, haply, near 
 
 The residence of Posthumus, — so nigh, at least. 
 
 That though his actions were not visible, yet 
 
 Report should render him hourly to your ear 
 
 As truly as he moves. — Ibid., iii. 4. 
 Here, " full of view " includes the combined meanings of ' full of 
 promising or auspicious aspect in itself,' ' full of means of observation 
 for yourself,' and ' full in view of others.' 
 
 I '11 make my will, then ; and, as sick men do. 
 
 Who know the world, see heaven, but, feeling woe. 
 
 Gripe not at earthly joys, as erst they did. — Per., i. i. 
 
 This phrase elliptically conveys the twofold effect of '• see a heaven 
 of delight in their mundane pleasure,' and ' see heaven itself only as a 
 distant goal to be attained.' The whole passage is condensedly ex- 
 pressed; but we interpret it to mean, ' As sick men do, who know the 
 world, seeing a heaven of delight in its pleasures while they lasted, and 
 seeing heaven itself only as a distant object of attainment ; but feeling 
 illness and sorrow, care no longer for earthly joys as once they did.' 
 
VERBS PECULIARLY USED 8o3 
 
 VERBS PECULIARLY USED. 
 Shakespeare occasipnally makes a verb do double or multiplied duty 
 in a sentence [See Elliptical Style] : — 
 
 And Ferdinand, her brother, found a wife 
 
 Where he himself was lost ; Prospero [found] his dukedom 
 
 In a poor isle ; and all of us [found] ourselves 
 
 When no man was his own. — Temp., v. i. 
 
 To be in love, where scorn is bought with groans ; 
 
 Coy looks [bought] with heart-sore sighs ; one fading moment's mirth 
 
 [Bought] With twenty watchful, weary, tedious nights. — Tw. G. of V., i. i. 
 
 Now are our brows bound with victorious wreaths ; 
 
 Our bruised arms [are] hung up for monuments ; 
 
 Our stern alarums [are] chang'd to merry meetings, 
 
 Our dreadful marches [are changed] to delightful measures. — R. III., i. i. 
 Wrong hath but wrong, and blame [hath but] the due of blame. — Ibid., v. i. 
 
 An honest country lord, as I am, beaten 
 
 A long time out of play, may bring his plain-song, 
 
 And have an hour of hearing; and by 'r lady, 
 
 [Have it] Held current music too. — H. VIII., i. 3. 
 One lire drives out one fire ; one nail [drives out] one nail ; 
 Rights by rights fouler [do fail], strengths by strengths do fail. — Coriol., iv. 7. 
 
 In this last-cited passage various alterations have been made b}' 
 various commentators, who believe the line to be incorrect ; but we 
 think that if it be compared with the several other instances here 
 collectively quoted of Shakespeare's mode of allowing a verb to perform 
 double and even multiplied duty in a phrase, it will be found to be quite 
 correct. 
 
 But passion lends them power [to meet], time [lends them] means, to meet. — 
 R. &• Jul., i. 5 (Chorus). 
 
 Thus much of this will make black, white ; [make] foul, fair ; [make] UTOng, right ; 
 [make] base, noble ; [make] old, young ; [make] coward, valiant. — Timon, iv. 3. 
 Thou wouldst have plung'd thyself 
 In general riot ; [wouldst have] melted down thy youth 
 In different beds of lust ; and never [wouldst have] leam'd 
 The icy precepts of respect, but [wouldst have] foUow'd 
 The sugar'd game before thee. But myself. 
 Who had the world as my confectionary ; 
 
 [Who had] The mouths, the tongues, the eyes, and hearts of men 
 At duty, more than I could frame employment. — Ibid., iv. 3. 
 As fire drives out fire, so pity [drives out] pity. — Jul. C, iii. i. 
 
 Dismayed not this 
 Our captains, Macbeth and Banquo ? — 
 
 Yes; 
 As sparrows [dismay] eagles, or the hare [dismays] the lion. — Macb., i. 2. 
 This tyrant, whose sole name blisters our tongues. 
 Was once thought honest : you have lov'd him well ; 
 He hath not touch'd you yet. I am young ; but something 
 You may discern of him through me ; and [discern] wisdom 
 To offer up a weak, poor, innocent lamb 
 To appease an angry god. — Ibid., iv. 3. 
 
 " Discern" is the word given by the Folio in this passage, and we 
 believe it to have been Shakespeare's word, though altered to 'deserve' 
 by Theobald and every editor since his time excepting ourselves. The 
 alterers of the word complain that there is. no verb to which "wisdom" 
 
 3 F 2 
 
8o4 THE SHAKESPEARE KEY. 
 
 can refer; but if the original word " discern " be retained, we have a 
 verb doing double duty in a sentence, according to Shakespeare's 
 frequent practice in this respect ; and the sense of the whole passage is 
 then consistent, thus : ' I am young, but something you may perceive 
 of Macbeth in me [Malcolm has stated that Macbeth "was once 
 thought honest," and afterwards taxes himself with vices], and also you 
 may perceive the wisdom of offering up, &c.' 
 
 Why day is day, night [is] night, and time is time. — Hamlet, ii. 2. 
 
 Do not look upon me ; 
 Lest with this piteous action you convert 
 My stern effects : then what I have to do 
 
 Will want true colour; [will want] tears, perchance for blood. — Ibid., iii. 4. 
 Fairest Cordelia, that art most rich, bein^ poor ; 
 [Art] Most choice, [being] forsaken ; and [art] most loved, [being] despis'd ! — Lear, i. i . 
 
 Let there be no honour. 
 Where there is beauty ; [let there be no] truth, where [there is] semblance ; [let there 
 be no] love. 
 Where there 's another man. — Cym., ii. 4. 
 
 'Tis wonder. 
 That an invisible instinct should frame them 
 To royalty unlearn'd ; [should frame them to] honour untaught ; 
 [Should frame them to] Civility not seen from other; [should frame them to] valour. 
 That wildly grows in them, but yields a crop 
 As if it had been sow'd ! — Ibid., iv. 2. 
 
 Thy name well fits thy faith; thy faith [well fits] thy name. — Ibid., iv. 2. 
 Take that life, beseech you. 
 Which I so often owe : but [take] your ring first ; 
 And here [take] the bracelet of the truest princess. — Ibid., v. 5. 
 Here have you seen a mighty king 
 His child, I wis, to incest bring ; 
 
 [Here have you seen] A better prince, and benign lord, 
 That will prove awful both in deed and word. — Per., ii. (Gower). 
 He will repent the breadth of his great voyage ; 
 [He will] Blame both ray lord and me. — Ibid., iv. i. 
 
 Shakespeare occasionally uses a verb peculiarly and arbitrarily in 
 reference to its accompanying pronouns : — 
 
 No ? hath not ? Rosalind lacks, then, the love 
 
 Which teacheth thee that thou and / am one. — As You L., i. 3. 
 
 The use of " am " here gives succinctly the eifect of the speaker's 
 saying, ' which should teach thee, as it teaches me, that thou and I 
 are (or "am") one.' It should always be remembered, in judging 
 Shakespeare's phraseology, that the great art of a dramatist is to give 
 promptly conveyed impression to his sentences ; and in this art Shake- 
 speare is eminently an adept. 
 
 And, I beseech you, hear me, who professes 
 Myself your loyal servant, your physician, 
 Your most obedient counsellor ; yet that dares 
 Less appear so, in comforting your evils. 
 Than such as most seem yours. — W. T., ii. 3. 
 
 By putting the verbs " professes " and "dares " in the third person, 
 the effect is conveyed of Paulina's speaking of another, while she thus 
 confidently asserts her own fidelity to the king. 
 
VERBS PECULIARLY USED. 805 
 
 Even so myself bewails good Gloster's case 
 With sad unhelpful tears ; and with dimm'd eyes 
 Look after him, and cannot do him good, — 
 So mighty .are his vowed enemies. — 2 H. VI., iii. i. 
 
 " Bewails" gives the effect of Henry's speaking of himself in the 
 third person as a helpless being; while "look" allows ' I ' to be 
 elliptically understood before the latter verb, and produces the more 
 directly forcible effect of personal feeling. 
 
 Casca, ^OM are the first that rears your hand. — yul. C, iii. i. 
 
 Either ' you are the first that rear your hand ' or ' you are the first 
 that rears his hand ' would be more accordant to usual construction ; 
 but the sentence, as written by the dramatist, gives the effect of 
 hurried speaking, and is expressively consistent with the stage 
 situation. 
 
 In the following passage Shakespeare uses a verb (as he frequently 
 uses a pronoun : See Relatively Used Pronouns) with reference to 
 an implied particular ; this implied particular being the circumstance of 
 " two boys, an old man, &c." : — 
 
 Two boys, an old man twice a boy, a lane, 
 
 Preserv'd the Britons, was the Romans' bane. — Cym., v. 3. 
 
 In the following passage he uses a verb in the plural, referring to an 
 antecedent in the singular : — 
 
 Priam's six-gated city, 
 Dardan, and Tymbria, Ilias, Chetas, Trojan, 
 And Antenorides, with massy staples. 
 And corresponsive and fulfilling bolts, 
 Sperr up the sons of Troy. — Tr. &• Cr. (Prologue) . 
 
 He sometimes uses neuter and passive verbs actively : — 
 But ere we could arrive the point propos'd. — yul. C, i. 2. 
 
 Those powers that the queen 
 Hath rais'd in Gallia have arriv'd our coast. — 3 H. VI., v. 3. 
 And now, arriving a place of potency. — Coriol., ii. 3. 
 That gallant spirit hath aspir'd the clouds. — R. &> yul., iii. i. 
 Now let the general trumpet blow his blast. 
 Particularities and petty sounds 
 To cease ! — 2 H. VI., v. 2. 
 
 Take an oath to cease this civil war. — 3 H. VI., i. i. 
 A certain stuff, which, being ta'en, would cease 
 The present power of life. — Cym., v. 5. 
 Be not ceas'd with slight denial. — Timon, ii. i. 
 And afterivard consort you till bed-time. — Com. of E., i. 2. 
 Sweet health and fair desires consort your grace ! — Love's L. L., ii. i. 
 Thou, wretched boy, that didst consort him here. — R. &• jful., iii. i. 
 Who to Philippi here consorted us. — jful. C, v. i. 
 What mutter you, or what conspire you, lords ? — 3 H. VI., i. i. 
 That do conspire my death with devilish plots. — R. III., iii. 4. 
 And expire the term of a despised life. — R. &• yul., i. 4. 
 Let us be keen, and rather cut a little. 
 Than fall* and bruise to death. — M.for M., ii. i. 
 Here did she fall a tear. — R. II., iii. 4. 
 
 * " Fall " is here used for ' strike down,' 'fell to the earth,' as a tree is felled. 
 
■So6 THE SHAKESPEARE KEY. 
 
 To-morrow in the battle think on me, 
 
 And fall thy edgeless sword. — R. III., v. 3. 
 
 And make him/all his crest. — Tr. 6- Cr., i. 3. 
 
 They fall their crests, and, like deceitful jades. — jfiil. C, iv. 2. 
 
 Wafting his eyes to the contrary, and falling 
 
 A lip of much contempt, speeds from me. — VV. T., i. 2. 
 
 The common executioner. . 
 Falls not the axe upon the humbled neck. — As You L., iii. 5. 
 Each drop she falls would prove a crocodile. — 0th., iv. i. 
 We must not make a scarecrow of the law. 
 Setting it up to fear the birds of prey. — M.for M., ii. i. 
 The people fear me ; for they do observe. — 2 H. IV., iv. 4. 
 Thou seest what's past, — go fear thy king withal. — 3 H. VI., iii. 3. 
 Something/«arj me to think of. — Lear, iii. 5. 
 There will she hide her to listen our propose. — M. Ado, iii. i. 
 And now, Octavius, listen great things. — yul. C, iv. i. 
 I pray thee, moralise them. — Tam. of S., iv. 4. 
 I moralise two meanings in one word. — R. III., iii. i. 
 Your exultation partake to every one. — W. T., v. 3. 
 Our mind partakes her private actions to your secrecy. — Per., i. i. 
 Who o'er the white sheet peers her whiter chin. — Lucrece, Stanza 68. 
 Because thy flinty heart, more hard than they, 
 Might in thy palace perish Margaret. — 2 H. VI., iii. 2. 
 Hadst thou, like us, from our first swath, proceeded 
 The sweet degrees that this brief world affords. — Timon, iv. 3. 
 Relish your nimble notes to.pleasing* ears. — Lucrece, Stanza 161. 
 Retir'd himself to Italy. — R. II., iv. i. 
 Aches contract and starve your supple joints. — Timon, i. i. 
 Oh, how it yearn'd my heart when I beheld. — R. II., v. 5. 
 He occasionally uses an active verb as a netater verb : — 
 This sickly land might solace as before. — R. III., ii. 3. 
 But one thing to rejoice and solace in. — R. &• jful., iv. 5. 
 To hide me from the radiant sun, and solace 
 V the dungeon by a snuff ? — Cym., i. 7. 
 That, in this case of justice, my accusers, 
 Be what they will, may stand forth face to face, 
 And freely urge against me. — H. VIII., v. 2. 
 
 In the following passages, the verb " inform " is used variously and 
 with some peculiarity : — 
 
 Haply thou mayst inform something to save thy life. — All's W., iv. i. 
 
 He will betray us all unto ourselves : 
 
 Inform on that. — Ibid., iv. i. 
 
 Let him alone ; he did inform the truth. — Coriol., i. 4. 
 
 It is the bloody business which informs 
 
 Thus to mine eyes. — Macb., ii. i. 
 
 Shakespeare so frequently uses " inhabit " as an intransitive verb, 
 that it confirms our belief in its being the correct word in the last of 
 the following passages \_See Terms of Defiance or Challenge for 
 our remarks on the passage in question] :■. — 
 
 On this island, where man doth not inhabit. — Ternp., iii. 3. 
 
 Oh, thou that dost inhabit in my breast. — Two G. of V., v. 4. 
 
 " " Pleasing " is here used for ' pleased.' 
 
WEIGHTS AND MEASURES. S07 
 
 There's none but witches do inhabit here. — Com. of E., iii. 2. 
 
 And Lapland sorcerers inhabit here. — Ibid., iv. 3. 
 
 A fearful eye thou hast : where is that blood 
 
 That I have seen inhabit in those cheeks ? — jfohn, iv. 2. 
 
 Disorder, horror, fear, and mutiny, 
 
 Shall here inhabit. — R. II., iv. i. 
 
 And, in those holes 
 Where eyes did once inhabit, there were crept. — R. III., i. 4. 
 And dare me to the desert with thy sword ; 
 If trembling I inhabit then, protest me. — Macb., iii. 4. 
 
 WEIGHTS AND MEASURES. 
 
 There are a few of these mentioned by Shakespeare, which thus 
 obtain a certain interest in recordation : — 
 
 How much your chain weighs to the utmost carrat. — Com. of E., iv. i. 
 
 Therefore, thou, best of gold, art worst of gold ; 
 
 Other, less fine in carat, is more precious. — 2 H. IV., iv. 4. 
 
 This word, which was spelt variously, carat, carrat, caract, charact, 
 and charect, signifies a weight of four grains, by which gold and gems 
 are weighed ; and has been derived either from carat, a bean, used by 
 Orientals for weighing gold, or from the Arabian, kirat, a weight. 
 
 Every tithe soul, 'mongst many thousand dismes [tenths] 
 Hath been as dear as Helen. — Tr. &• Cr., ii. 2. 
 For, like an ass, whose back with ingots [lumps of gold, masses of precious metal] 
 bows. — M.for M., iii. i. 
 
 Realms and islands were 
 As plates [silver coin or pieces of money : Spanish, plata'\ dropp'd from his pocket.— 
 Ant. &■ C, V. 2. 
 
 Not with fond shekels of the tested gold. — M.for M., ii. 2. 
 
 " Shekels " is printed in the Folio and in ancient versions of the 
 Bible ' sickles.' It signified both a Jewish coin and a Jewish weight ; 
 and our word ' scale,' to weigh, is indirectly derived from the Hebrew 
 word "shekel." As employed here by Shakespeare, "shekels" conveys 
 the idea of minted gold and heavy amount of gold. 
 
 Ay, my good lord, five talents is his debt. . . . Three talents on the present; in 
 future, all. — Timon, i. i. 
 
 I do return those talents, doubled with thanks. — Ibid., i. 2. 
 
 Let the request be fifty talents . . . bid them send o' the instant a thousand talents 
 to me. ... I clear'd him with five talents ... to be remember'd with those five 
 talents, — Ibid., ii. 2. 
 
 Having great and instant occasion to use fifty talents. — Ibid., iii. i. 
 
 To borrow so many talents ... to supply his instant use with so many talents 
 he cannot want fifty-five hundred talents. — Ibid., iii. 2. 
 
 Mine, fifty talents. — Ibid., iii. 4. 
 
 In all the above passages, Shakespeare by " talents " refers to the 
 Attic talent, which has been calculated to amount in worth to rather 
 more than fifty-six pounds of silver, or to be equivalent to about 
 £243 15s. of modern English money. A " talent " — being a term 
 originally applied to a large weight of gold or silver, then to a large 
 
8o8 THE SHAKESPEARE KEY. 
 
 sum in gold or silver coin — became subsequently used to express a 
 thing of indefinite but great value ; and Shakespeare thus uses the 
 word in the following two passages : — 
 
 Not he ; but yet Heaven's bounty towards him might 
 Be us'd more thankfully. In himself 'tis much ; 
 In you, — ^vvhich I 'count his, — beyond all talents. — Cym., i. 7. 
 And, lo, behold these talents of their hair. 
 With twisted metal amorously impleach'd, 
 
 I have receiv'd from many a several fair. — Lover's Comp., Stanza 30. 
 I have a great desire to a bottle [bundle: French, botte] of hay. — Mid. N. D., iv. i. 
 Give me thy mete-yard [yard-measure, yard-wand], and spare not me. — Tarn. 
 ofS., iv. 3. 
 
 By many a dearn and painful perch [a measure of five yards and a half] 
 Of Pericles the careful search . . . 
 Is made. — Per., iii. [Gower). 
 
 Go brew me a. pottle of sack finely. — Merry W., iii. 5. 
 Ere the nt-xt pottle can be filled. — 0th., ii. 3. 
 By the mass, you '11 crack a quart together, — ha ! 
 Will you not. Master Bardolph ? — 
 Yea, sir, in a. pottle-pot. — 2 H. IV., v. 3. 
 
 " Pottle," from the old French, potel, was originally a measure con- 
 taining two quarts ; but was familiarly used for a tankard or pot, from 
 which wine or beer was drunk. Master Bardolph's reply shows that it 
 was certainly of capacious dimensions. 
 
 Marian, I say, a stoop of wine! — Tv). N., ii. 3. 
 Fetch me a stoop of liquor. — Hamlet, v. i. 
 Set me the stoops of wine upon that table. — Ibid., v. 2. 
 Come, lieutenant, I have a stoop of wine. — 0th., ii. 3. 
 The " stoop " was a measure containing about half a gallon (Dutch, 
 stoope), and came to be used for a flagon, bowl, or vessel for holding 
 drinking liquor. 
 
 Shakespeare uses two idiomatic terms of quantity, familiarly 
 employed : — 
 
 Three veneys for a dish of stewed prunes. — Merry W., i. i. 
 I have here a dish of doves that I would bestow upon your worship. — Mer. ofV.,\\.i. 
 For a quart of ale is a dish for a king. — W . T., iv. 2 {Song). 
 Moving such a dish of skimmed milk. — i H. IV., ii. 3. 
 It is observable that in the two latter passages " dish " is used for 
 a vessel that contains liquid ; as in our grandmothers' days it was the 
 custom to say ' a dish of tea ' for ' a cup of tea.' 
 
 I had as lief you would tell me of a mess of porridge. — Merry W., iii. i. 
 Coming in to borrow a mess of vinegar. — 2 H. IV., ii. i. 
 
 WOMEN'S PARTS PLAYED BY BOYS. 
 
 There are several passages in Shakespeare's dramas that refer to 
 the custom which existed in his time of boys or ver}' young men (some- 
 times masked) enacting the women's parts in stage plays ; a custom 
 that it is requisite to bear in mind for the due comprehension of these 
 passages : — 
 
WORDS LIKE " BLAME," &-c. 
 
 Francis Flute the bellows-mender. . . . You must take Thisby on you. . . . Nay, 
 'faith ; let not me play a woman ; I have a beard coming. — That 's all one : you shall 
 play it in a mask, and you may speak as small as you will. — Mid. N. D., i. 2. 
 About my stature : for, at Pentecost, 
 When all our pageants of delight were play'd, 
 Our youth got me to play the woman's part, 
 And I was trimm'd in Madam Julia's gown. — Tmo G. of V., iv. 4. 
 This is said by Julia herself, disguised a's the page, Sebastian. 
 
 It is not the fashion to see the lady the epilogue ; but it is no more unhandsome than 
 to see the lord the prologue. . . If I were a woman, I would kiss as many of you as 
 had beards that pleased me. — As You L. [Epilogue). 
 
 This epilogue is spoken by RosaHnd. 
 
 What ! my young lady and mistress ! By 'r lady, your ladyship is nearer heaven, 
 than when I saw you last, by the altitude of a chopine. Pray God, your voice, like a 
 piece of uncurrent gold, be not cracked within the ring. — Hamlet, ii. 2. 
 
 Hamlet is here addressing the growing youth who enacts the stage 
 heroines, and who has reached the age when the boyish treble voice is 
 changing to the manly tenor or bass, which will soon unfit him for any 
 longer playing the lady characters. 
 
 Cleopatra. . . . The quick comedians 
 
 Extemporally will stage us, and present 
 
 Our Alexandrian revels ; Antony 
 
 Shall be brought drunken forth, and I shall see 
 
 Some squeaking Cleopatra boy my greatness 
 
 I'the posture of a wench. — Ant. &• C, v. 2. 
 
 WORDS LIKE " BLAME," &c. 
 
 Shakespeare occasionally uses some words for the causes of that 
 which they directly signify ; and he does this consistently with a 
 familiar usage in English diction. By way of illustration — we re- 
 member that droll effect was obtained from this in one of the elder 
 Mathews's Entertainments, where an old lady aboard a vessel while 
 the sea is running high, asks in great trepidation, " There 's no fear, 
 is there, captain ? " To which he replies, " Oh, dear, yes, ma'am ! 
 plenty of fear, but no danger " : — 
 And shall my youth be guilty of such blame ? [fault, error]. — i H. VI., iv. 5. 
 Wrong hath but wrong, and blame the due of blame. — R. III., v. i. 
 'Tis his own blame : h'ath put himself from rest. — Lear, ii. 4. 
 My high-repented blames [errors], dear sovereign, pardon to me. — All's W., v. 3. 
 DdMg-c;- [dread of danger] deviseth shifts; wit waits on fear. — V. &• Adon., Stanza 11^. 
 And send discoverers [scouts, investigators] forth to know the numbers of our 
 enemies. — 2 H. IV., iv. i. 
 
 Here is the guess of their true strength and forces 
 
 By diligent discovery [search, exploring, investigation]. — Lear, v. i. 
 
 Or in the night, imagining some fear [danger], 
 
 How easy is a bush suppos'd a bear 1 — Mid. N. D., v. i. 
 
 That shows the ignorant a kind oi fear 
 
 Before not dreamt of. — i H. IV., iv. i. 
 
 Thou shak'st thy head, and hold'st it fear, or sin. 
 
 To speak a truth.— 2 H. IV., i. i. 
 
 There is no fear in him ; let him not die. — Jul. C, ii. i. 
 
8io THE SHAKESPEARE KEY. 
 
 Present fears [dangers, objects of fear] are less than horrible imaginings. — 
 ilacb., i. 3. 
 
 N.o meed [desert, merit], but he repays sevenfold above itself. — Timon, i. i. 
 In his meed, he 's unfellowed. — Hamlet, v. 2. 
 
 Each one already blazing by our meeds [meritorious deeds, acts deserving meed or 
 reward]. — 3 H. VI., ii. i. 
 
 And, by the merit [guerdon, reward, recompense] of vile gold, dross, dust. 
 Purchase corrupted pardon of a man. — John, iii. i. 
 A dearer merit, not so deep a maim 
 As to be cast forth in the common air. — R. II., i. 3. 
 We answer others' merits [deeds which merit or deserve punishment] in our name - 
 Ant. &• C, V. 2. 
 
 The greatest obloquy [disgrace] i' the world in me to lose . . . the greatest obloquy 
 i' the world in me. — All's W., iv. 2. 
 
 May one be pardon 'd and retain the offence [gain for which the offence was 
 committed] ? — Hamlet, iii. 3. 
 
 My noble master will appear such as he is, full of regard [that which is worthy of 
 regard] and honour. — Jul. C, iv. 2. 
 
 My young master doth expect your reproach [this is said as a blunder for ' approach ; 
 but it is replied to in the sense of ' discredit.' ' defeat,' ' disgrace,' that which incurs 
 reproach]. — So do I his. — Mer. of V., ii. 5. 
 
 In whose comparison all whites are ink. 
 Writing their own reproach. — Tr. &• Cr., i. i. 
 To do upon respect [that which should cause or command respect, that which is 
 entitled to respect] such violent outrage. — Lear, ii. 4. 
 
 There is no terror [peril, that which inspires terror], Cassius, in your threats. — 
 ynl. C, iv. 3. 
 
 You have brought a trembling [that which may well cause trembling, a calamity to 
 tremble at] upon Rome, such as was never so incapable of help. — Coriol., iv. 6. 
 
 See Peculiar Use of Words for " chase " and •' hunt " used in 
 a similar manner. 
 
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